Khiladiposter2

Music review analysis of Himesh Reshammiya's album Khiladi 786 (2012).

Lonely

The song begins with a Saxophone piece in unplugged mode with a teasing feel, especially from 0.06 to 0.07 & 0.13 to 0.14 which has a comic feel and is representative of a quick buzz of a fly near the ears.

Quick raw African drum hits join in from 0.07 onwards.

Yo Yo Honey Singh belts out his rap from 0.14 to 0.44, along with off-da-hook quick intermittent beat skip pattern from 0.22 to 0.43

The underlying semi plugged rhythmic beat kicks in from 0.45 onwards along with a simple well structured samba tune piece which is representative as if Tom – the cat is dancing with his girlfriend in a Caribbean Cabana party, followed by a catchy funky tune from 0.55 to 1.02 which builds up the song.

Himesh sings the mukhda with his deliberate nazal twang.


The core mukhda phrase O BAWARIYA (computerized nazal vocal echo effect as if sung in a large empty auditorium) is used intermittently throughout the song.

The BEST mukhda line is ME KITNA TANHA TANHA LONELY LONELY TERE BIN (off-da-hook catchy casual feel vocals) from 1.04 to 1.07 & 2.00 to 2.03 which sounds rwakin.

The songs picks up on tempo and is in full form with Himesh’s line, TERI YAAD YAAD MEIN * 3 (repetitive hook) from 1.11 to 1.16 along with underlying rhythmic remix styled beats which makes the listener want to ‘jhoom barabar jhoom’ in bindaas mode.  

Himesh’s line, TADPE JIYA (desperation feel twist) from 1.16 to 1.18 & 1.48 to 1.50 comes from his Sufi Rwak school of composition and singing.

Himesh tries to pull off his version of Akon’s singing in the lines SAANSON MEIN AANKHON MEIN NEENDON MEIN KHAWABON MEIN from 1.36 to 1.41 with his ultra sharp mischievous cheeky vocals.

Between mukhda & stanza, Yo Yo Honey Singh is back with his rap along with quick raw African drum hits and off-da-hook quick intermittent beat skip pattern from 2.06 to 2.35

Stanza

Hamsika Iyer brightens up the proceedings further and sings with happy-go-lucky feel good vocals on a simple composition pattern from 2.35 to 2.49 as if the heroine is having fun dancing around.

Himesh re-visits his famous phrase TERI YAAD SAATH HAI *2 from 2.50 to 3.08 which was used in MAIN JAHAAN RAHU from NAMASTEY LONDON, and whilst being déjà-vu it is a line that Himesh fans would never ever mind listening.

Whoosh effect from 3.09 to 3.11 grows upon the listener.

When Himesh’s line which has Akon type singing arrives the second time around, SAANSON MEIN AANKHON MEIN NEENDON MEIN KHAWABON MEIN (ultra thin sharp knife edge cheeky mischievous vocals) from 3.36 to 3.42, it sounds rwakin and makes the listeners break into a smile.

Highlights of this song:

1. Himesh’s 3 faceted singing which comprises of his deliberate nazal twang, new Radio vocals and Akon type singing with ultra thin vocals.

2. Hamsika Iyer’s happy-go-lucky feel good vocals.

3. Underlying rhythmic remix styled beats.

4. Saxophone piece with a teasing feel and catchy funky tune at start, quick raw African drum hits and off-da-hook quick intermittent beat skip pattern.  

5. Yo Yo Honey Singh’s attitude feel rap.

Balma

The song begins with OFF-DA-HOOK African drum beat pattern in unplugged mode that spins in an off-da-hook repetitive loop.

Off-da-hook catchy fluctuating vibrant bazz sound from 0.04 to 0.12 joins in and gets da listener swaying to its groove, followed by profound quick tabla hits from 0.12 onwards, followed by intermittent heavy beat pattern from 0.16 onwards, causing a RWAKIN build up thus far.

The bright peppy interior downtown theme piece which brightens up the listeners’ mood from 0.20 to 0.27 & 0.43 to 0.50 is followed by 90’s band baaja tune piece from 0.27 to 0.42 which is representative of Khiladi Bhaiya Aka Bahattar kicking up goons, along with loud energetic ‘joshile’ male chants HA HA HEY HEY which give a KABEELA touch to the song.

Shreya Ghoshal once again shows her versatility and does total justice to this song with the sincerity and dedication in her singing. She just totally rwaks it and hits a sixer in foreign musical playing ground, because this is not her default genre whereby she is out of her comfort territorial zone. In fact, no other female singer could have sung this song better than her.

Her lines, FIRE BRIGADE (OFF-DA-HOOK strong interior language pronunciation) MANGWAADE TU-UUUUUU (catchy refreshingly melodious vocals) HAAI (off-da-hook halke se seductive feel twist) from 0.50 to 1.02

Shreya's line, HAAI-AAI (off-da-hook catchy quick down twist) from 1.01 to 1.02

Shreya’s lines, ANGAARON PAR HAIN (awesome descending twists) from 1.04 to 1.05

Off-da-hook raw drum hit pattern in unplugged mode from 1.07 to 1.08, 1.21 to 1.22 & 1.55 to 1.57 gives sahi desired intermittent effect.

The tune of core mukhda repetitive hook O BALMA composed by use of only 2 key notes is damn simple yet catchy, and the intermittent catchy interior downtown peppy tune gives the completeness effect and overall catchy effect to the whole repetitive hook in totality. Shreya and Shreeram have a total blast behind the mike whilst singing it.

The intermittent heavy beat effect from 1.15 to 1.20 & 2.04 to 2.09 along with Shreya’s and Shreeram’s lines gives kick.

Himesh delivers as promised to JJWS 2 runner up contestant Shreeram that he would feature in a song before the next financial year, and he too joins in the fun filled party by giving good company to Shreya.

Shreeram’s lines, TERI JAAWANI JALTA SHARAARA (off-da-hook profound twists) from 1.30 to 1.33, BHUJAANE VE-EEEEEEE (terrific prolonged high pitched sharp high pitched vocals strike a chord) from 1.38 to 1.39

Off-da-hook African drum hit pattern with Kabeela touch from 1.40 to 1.47 gets the listener into da zone and swaying into the rhythmic groove.

The cult wicked male vocal effect from 1.47 to 1.50 gives a cannibal touch.

Shreeram’s line, RE-EEEE (gradually dying vocal effect) from 1.49 to 1.50

Shreya’s line, HEEEEEE (off-da-hook prolonged melodious alaap) from 1.50 to 1.51 basically dimaag kharaab kar deta hai.

Shreya’s line, O BALMA (super seductive feel vocals) from 1.59 to 2.01, AAAAN (loud seductive sigh) from 2.01 to 2.04 as if the heroine is craving for her lover out of tadap due to lust.

Shreeram’s line, BALMA (qatilaana teasing vocals, as also evidenced by Bahattar’s facial expression in the music video) from 2.10 to 2.11

Between mukhda & 1st stanza, an Arabian tune piece from 2.18 to 2.24 is followed by 90’s styled band baaja tune piece from 2.24 to 2.38 whereby the listener can visualize Bahattar kicking up more goons.

Stanza

The free flowing tune from 2.38 to 2.54 is simple, and intermittent heavy beat effect gives kick.

Proceedings become nostalgic with Shreeram’s lines, JAANAM EK ZALAZALA TERA YEH TAN BADAN AAJA BHUJADUN YEH SAARI TAPAN (gradual 3 step descending composition pattern, sung with feel vocals) from 2.54 to 3.02

Shreya’s line, loud seductive feel sigh at 3.09, HAAAI (off-da-hook seductive feel sigh) from 3.14 to 3.15

The song ends with Shreeram’s repetitive echo line BAMLA which strikes a chord.

Highlights of this song:

1. Shreya’s melodious seductive feel vocals and Shreeram’s high pitched sharp knife edge vocals, both which strike a chord.

2. Rwakin build up with off-da-hook African drum beat pattern that spins in an off-da-hook repetitive loop until 0.04 followed by off-da-hook catchy fluctuating bazz sound from 0.04 to 0.12 followed by profound quick tabla hits from 0.12 onwards.

3. Bright peppy interior downtown theme piece which brightens up the listeners’ mood, intermittent heavy beat effect from 1.05 to 1.20 & 2.04 to 2.09 gives kick, off-da-hook raw drum hit pattern in unplugged mode from 1.07 to 1.08, 1.21 to 1.22 & 1.55 to 1.57 and off-da-hook African drum hit pattern with Kabeela touch from 1.40 to 1.47

4. Arabian tune piece followed by 90’s styled band baaja tune piece in between stanza gap.

5. Loud energetic ‘joshile’ male chants HA HA HEY HEY and cult wicked male vocal effect from 1.47 to 1.50 which give a kabeela / cannibal touch to the song.

Long Drive

The song begins with a funky guitar piece with echo effect in unplugged mode until 0.24 that depicts the super cool care free attitude of the protagonist.

The harmonium joins in from 0.25 to 0.36

The rhythmic RnB Hip Hop beat kicks in from 0.37 onwards along with fluctuating vibrant metal guitar, with emphasis from 0.54 to 0.58 & 1.04 to 1.09 which is off-da-hook catchy.

Mika Singh sings with high pitched sharp knife edge vocals that strike a chord.

Mika’s lines, PARTY STARTI KARENGE * 2 from 0.53 to 0.57 build up the mukhda lines.

The tune is free flowing and gets the listener slowing n surely into da zone.

The core repetitive mukhda hook LONG DRIVE PE CHAL 1.28 to 1.50 is simple yet effective, whereby the OFF-DA-HOOK heavy hit pattern from 1.37 to 1.38 & 1.47 to 1.48 gives the instrumental KILL effect and gives TREMENDOUS KICK to the listener.

The additional free flowing Waltz beat kicks in from 1.38 & 1.48 onwards.

Between mukhda & 1st stanza, the harmonium theme piece plays from 1.50 to 2.01

1st stanza

The composition pattern is simple, well structured and effective.

Outstanding lyrics, MENU DILADE SONI, RAAHAT KI CHAIYAAN, CHAD KE HAI AAYA CHAD KE WHO TANG GAILYAN, AAYA MEIN AAYA WEKHAN TERI RANG RALIYAAN strike a chord in terms of expressing the hero’s sentiments to the heroine.  

The continuous tune from 2.13 onwards gives terrific scale to Mika’s line, AAYA MEIN AAYA (OFF-DA-HOOK high pitched passionate feel emphasis) from 2.13 to 2.15 whereby he is heavily influenced by Himesh - the Sufi Rwak singer’s school of singing.

Mika’s line, HOO-OOOO-OOO (terrific catchy twist) from 2.17 to 2.19

After the BUILD UP by Mika’s sharp knife edge vocals in unplugged mode from 2.03 to 2.19, off-da-hook heavy hit pattern from 2.20 to 2.21 gives the KILL effect and tremendous kick to listener, followed by the underlying beats from 2.21 onwards that make da listener totally feel it.

Between 1st & 2nd stanza, funky guitar piece is back from 2.57 to 3.05 followed by harmonium theme piece from 3.07 to 3.19

2nd stanza

The composition pattern is simple, well structured and effective.

Outstanding lyrics RAFTAARI ISHQA DI AB KAM NA HOGI, TERI LIYE BAN BAITHA ME PREM ROGI, PAAKE RAHEGA TUJHKO YEH RAANJHA JOGI strike a chord in terms of expressing the hero’s sentiments to the heroine.

The continuous tune from 3.31 onwards gives terrific scale to Mika’s line, PAAKE RAHEGA (OFF-DA-HOOK high pitched passionate feel emphasis) from 3.31 to 3.32 whereby he is heavily influenced by Himesh – the Sufi Rwak singer’s school of singing.

Mika’s line, HOO-OOOO-OOO (terrific catchy twist) from 3.35 to 3.37

After the BUILD UP by Mika’s sharp knife edge vocals in unplugged mode from 3.19 to 3.37, off-da-hook heavy hit pattern from 3.37 to 3.38 gives the KILL effect and tremendous kick to listener, followed by the underlying beats from 3.38 onwards that make da listener totally feel it.

Off-da-hook heavy hit pattern from 3.37 to 3.38 followed by full on beats from 3.38 onwards makes the listener feel it.

Highlights of this song:

1. Mika Singh’s high pitched sharp knife vocals that strike a chord.

2. Rhythmic RnB Hip Hop beat along with fluctuating vibrant metal guitar, and additional free flowing Waltz beat pattern.

3. Off-da-hook heavy hit pattern which is instrumental USP and gives the KILL effect.

4. Harmonium theme piece and funky guitar piece with echo effect.

Saari Saari Raat

The song begins with off-da-hook fluctuating loud funky horn piece that plays throughout in the backdrop and gives catchy scale.

Himesh keeps the orchestration modern new age.

The contemporary new age beat kicks in from 0.19 onwards and it has an off-da-hook intermittent quick beat skip effect at 0.20, 0.22 and so on.

The violin theme piece plays from 0.29 to 0.48 & 1.17 to 1.35

A subdued Himesh sings in his new Radio voice in high pitch range, which is sort of an experimental singing.

The tune of mukhda is well structured and has a free flowing pattern.

Himesh sings with utter sincerity and honesty. Bhaut imandaari se gaaya hai, with emphasis on his line, DUAWA (OFF-DA-HOOK desperation plea twist with terrific KASHISH in vocals) from 1.42 to 1.43

Himesh’s lines, DUAWA-AAAAAAN (prolonged twists-n-turns) from 1.43 to 1.45, RABBA VE-EEEE (prolonged twists-n-turns) from 1.52 to 1.53 belongs to post ABA compositional style.

Off-da-hook beat effect at 1.54

Himesh’s line, RAAAT (awesome twist) from 2.10 to 2.11

Between mukhda & 1st stanza, the violin theme piece is back from 2.14 to 2.33

1st stanza

The free flowing trend of the tune continues in the stanzas, which is well structured from 2.34 to 2.52 along with philosophical lyrics.

Himesh’s subdued vocals with thehraav from 2.34 to 2.52 sound pleasing, with emphasis on his lines KAISE BATAAYE (typical unique HR melody notes) from 2.40 to 2.42, KAISE SUNAAYE (typical unique HR melody notes) from 2.50 to 2.52

Himesh’s line, SAU AFSAANE HAI (slogan based singing) from 2.43 to 2.45 reminds of his line SAARE RASTE HAI (slogan based singing) from 2.18 to 2.20 in YEH VEERENIYAAN from NAMASTEY LONDON.

Himesh’s passionate vocals in high pitch range from 2.52 to 3.00 are representative of a crazy obsessive lover craving for his loved one.

The stanza reaches its climax peak with Himesh’s line, FARIYAA-AAAA (awesome prolonged) AAAAD (awesome vocal shift projection in lower range) from 3.02 to 3.08 along with a continuous majestic tune piece that gives a nostalgic fairytale feel.

The violin piece actually shifts to an upper scale from 3.09 to 3.14 but again is back to the actual default scale from 3.15 to 3.17, which shows the extra attention-to-detail put in by Himesh in this composition.

The underlying catchy fluctuating loud funky horn piece is in full form behind Himesh’s vocals from 3.18 to 3.35 and gives an overall catchier effect.

Himesh’s line, JOO (off-da-hook halke se desperation feel) at 3.26

In between 1st & 2nd stanza, the violin theme piece is back from 3.36 to 3.56

2nd stanza

The free flowing trend of the tune continues in the stanzas, which is well structured from 3.55 to 4.14 along with philosophical lyrics.

Himesh’s subdued vocals with thehraav from 3.56 to 4.14 sound pleasing, with emphasis on his lines LIKHA KARTE THE (typical unique HR melody notes) from 4.03 to 4.04, DEKHA KARTE THE (typical unique HR melody notes) from 4.12 to 4.14

Himesh’s line, GEELI SIHAYI SE (slogan based singing) from 3.55 to 3.57 reminds of his line SAARE RASTE HAI (slogan based singing) from 2.18 to 2.20 in YEH VEERENIYAAN from NAMASTEY LONDON.

Himesh’s passionate vocals in high pitch range from 4.15 to 4.23 are representative of a crazy obsessive lover craving for his loved one.

The stanza reaches its climax peak with Himesh’s line, DUAAAA-AAAA (awesome prolonged) AAAAD (awesome vocal shift projection in lower range) from 4.23 to 4.31 along with a continuous majestic tune piece that gives a nostalgic fairytale feel.

The violin piece actually shifts to an upper scale from 4.31 to 4.35 but again is back to the actual default scale from 4.36 to 4.38, which shows the extra attention-to-detail put in by Himesh in this composition.

The underlying catchy fluctuating loud funky horn piece is in full form behind Himesh’s vocals from 4.38 to 5.07 and gives an overall catchier effect.

Himesh’s line, SARI SARI RAAT (awesome halke se desperation feel) from 5.03 to 5.05

Highlights of this song:

1. Himesh’s subdued thehraav singing with utter sincerity and honesty.

2. Off-da-hook underlying fluctuating loud funky horn piece that plays throughout in the backdrop and gives catchy scale.

3. Contemporary new age beats with an off-da-hook intermittent quick skip effect, and the violin theme piece.

4. Off-da-hook beat effect at 1.54

Hukka Bar

The song takes the listener into a state of trance, just like AASHIQUANA HAI DIL from AAP KA SUROOR.

It begins with synth harpsichord in unplugged mode until 0.07

The live wire electro foot tapping beats kick in from 0.08 onwards along with groovy violin theme piece.

Vineet Singh arrives with his catchy high pitched computerized theme piece croons from 0.21 to 0.35 which are simple and well structured.

Himesh is in resurgent form and comes out with one of his catchiest mukhda tune in post ABA era.

The listener is in foot tapping groove from 0.36 onwards whereby the historic male chorus just rwaks it with their high pitched croons that strike the chord big time and give melody pinch.

From the male chorus lines throughout the song, special credit goes to Aman Trikha whose vocals who steal the show.

The listener gets slowly and surely in to the zone and starts feeling the melody with lines, TERI AAKHIYION KA VAAR JAISE SHER KA SHIKAAR TERA HUSN DHUEDHAAR JAISE JALTA CIGAR from 0.36 to 0.50, whereby the lyrics by Himesh himself are just outstanding.

The male chorus line, JAISE SHER KA SHIKAAR (HISTORY vocal twist that konnekts with the listener) from 0.38 to 0.40 & 0.45 to 0.47

The lyrics, TERI AAKHIYON KA VAAR JAISE SHER KA SHIKAAR have a deep rooted meaning, because a lion always sets his sight on its chosen one prey from the pack of herd n then it hunts it down in pursuit of the chase during which it is impossible for the victim to escape the killer jaws. Similarly in its context to love, the lover's eyes are so hypnotic that in a massive crowd if they lock eyes with her chosen one lover, then that lover is hypnotized in that 'prem jaal' which is impossible to escape.

The HISTORIC male chorus line, JAISE SHER KA SHIKAAR from 0.38 to 0.40 & 0.45 to 0.46 konnekts with and wins over the listener, dil koh lagta hai!

The core mukhda repetitive hook TERA PYAR PYAR PYAR, HOOKAH BAR from 0.54 & 1.17 onwards is HISTORIC and infectiously catchy like hell, along with continuous whoosh effect as if the listener is smoking the ‘dhuan’ of the Hooka in lounge section of the bar.

Himesh nails it to the T and ensures that this repetitive hook is full of high dose in terms of melody impact, especially the prolonged repetitive part TERA PYAAR * 3 HOOKA BAR * 3 TERA PYAAR * 3 HOOKA BAR (HISTORY catchy repetitive hook) from 1.02 to 1.08 & 1.23 to 1.30 which causes a rush of adrenaline and fills the listener with JOSH, JAZBA N JUNOON.

The USP of the core repetitive mukhda hook is that is simple composition pattern and yet infectiously catchy as hell, and the lyrics TERA PYAAR HOOKA BAR have deep meaning, in the sense that your love is as addictive as going to Hooka Bar.

The male chorus lines, PYAAR (HISTORY twist) at 0.55, 0.59, 1.06, 1.18, 1.21 & 1.25 , BAAR (HISTORY twist) at 1.04 & 1.27, PYAAR (HISTORY up note) at 1.28

The line, HUKKA BAR (slogan based singing) from 0.56 to 0.57, 0.59 to 1.00 & 1.07 to 1.08

The vocal combo mix of male chorus and Vineet’s computerized feel good vocals from 1.17 to 1.23 gives an overall catchier effect, whereby proceedings become rwakin.

In between mukhda & 1st stanza, the start-stop gap followed by synth harpsichord catches the pulse of the listener big time, because of its abruptness in terms of extreme 360 contrast in terms of the proceedings switching in between full on orchestration and unplugged mode.

1st stanza

The foot tapping beat kicks in abruptly from 1.46 onwards after a remix whish effect at 1.46, along with fluctuating groovy violin piece which gives catchy underlying scale in overall combined context of the vocals.

Vineet rwaks it with his feel good computerized vocals from 1.46 to 2.00 on a simple free flowing yet catchy tune pattern.

The catchy high pitched male chorus is back to rwak it from 2.00 onwards with high pitch vocals that strike a chord, with emphasis on the line BAAJE DIL MEIN SITAR (outstanding lyrics by Himesh that konnekt) from 2.02 to 2.04

Vineet’s feel good theme piece croons from 2.26 to 2.40 are followed by groovy violin theme piece from 2.41 to 2.48

Mid way through the song, when the groovy violin theme piece arrives again from 2.41 to 2.48, the listeners are lost in a state of trance and trying to figure out the greatness of the composition until the point that they have heard thus far, and its catchiness overwhelms them in amazement whereby the melody gets a complete hold on them.

Between 1st & 2nd stanza, a raga tune plays in unplugged mode from 2.48 to 2.52 followed by a gradually rising violin piece 2.53 to 2.55 that grows upon the listener and strikes a resonating chord, which gives a feel as if the listener is chilling out in the lounge section of hukka bar after feeling the buzz in head and seeing stars in the daylight as a result of getting high due to smoking hukka i.e. hukke ka suroor sar char ke bol raha hai.

2nd stanza

The foot tapping beat kicks in abruptly from 2.55 onwards after a remix whish effect at 2.55, along with fluctuating groovy violin piece which gives catchy underlying scale in overall combined context of the vocals.

Vineet rwaks it with his feel good computerized vocals from 2.56 to 3.10 on a simple free flowing yet catchy tune pattern, whereby his 2nd stanza lines are better than his 1st stanza lines with emphasis on his line TISHANAGI (off-da-hook techno vocals) from 3.08 to 3.10

The catchy high pitched male chorus is back to rwak it with high pitch vocals from 3.10 onwards that strike a chord.

The male chorus line, HAI JUNOON (off-da-hook fulltu) at 3.10

Vineet’s feel good theme piece croons from 3.51 to 4.05 are accompanied by groovy violin theme piece.

The song ends in the same manner in which it begun with synth harpsichord in unplugged mode.  

Highlights of this song:

1. Historic high pitched male chorus which strike a chord and give melodious pinch, the singing takes the already catchy song to an even higher level, special credit goes to Aman Trikha’s vocals which steal the show.

2. Vineet’s feel good theme piece croons and feel good vocals in stanzas with computerized effect.

3. Foot tapping electro live wire beats, synth harpsichord, groovy violin theme piece and remix whish effect at start of stanzas.

4. Raga tune in unplugged mode followed by a gradually rising violin piece with vibrating resonance in between 2nd stanza gap.

5. Outstanding lyrics by Himesh that konnekt.

Khiladi Bhaiya

The song begins with a catchy interior downtown string based theme piece in unplugged mode, and the underlying fluctuating bazz sound joins in from 0.06 to 0.10

OFF-DA-HOOK deadly killer loud whoosh sound at 0.05, 0.11, 0.17 and so on gives FULL ON JOSH, JAZBA N JUNOON and signifies the ‘no mess, keep distance ok, n back off’ factor from Khiladi Bhaiya.

The cult classical male rap joins in from 0.12 to 0.23 causes further build up of song, gets the listener in to da zone and makes them feel it, also due to the scene in music video where Bahattar breaks the door with his Jeep and goons fly, followed by his trademark wrist step with fulltu attitude.

When choosing his underlying heavy beat which spins in an OFF-DA-HOOK repetitive loop, Himesh takes reference from KAJRAARE TITLE TRAX and RABBA LUCK BARSA, as the beat pattern comprises of heavy drum hits with thump effect used in KAJRAARE TITLE TRAX, followed by the 2 raw heavy hits that was used in RABBA LUCK BARSA.

Himesh ropes in his prodigies and this aspect works in the song’s favor since the male chorus singing is a unique phenomenon which is used rarely and at seldom in terms of full-fledged playback singing (except mainly for theme n character based songs).

The core mukhda repetitive hook, KHILADI BHAIYA * 2 KHILADI from 0.23 to 0.39 is catchy, with emphasis on the last line, KHILADI-IIIII (off-da-hook prolonged catchy) from 0.26 to 0.27, 0.32 to 0.33 & 0.38 to 0.39

The catchy intermittent bazz trumpet piece followed by off-da-hook deadly killer loud whoosh sound from 0.28 to 0.29, 0.34 to 0.35 & 0.40 to 0.41 is power packed stuff which gives jazba and sikes up the listener as they feel the action quotient in the film.

The composition pattern of the lines, AAR LAGAYENGE PAAR LAGAAYENGE SABKI DOOBTI NAIYA from 0.41 to 0.45 has a gradual 3 step descent, with emphasis on the line, AAR LAGAYENGE (OFF-DA-HOOK fulltu high pitch) from 0.41 to 0.42, NAIYA (terrific catchy twist) at 0.45

Off-da-hook heavy beat effect in unplugged mode at 0.46 & 1.15

Vineet Singh literally pours his heart out and wins over the listeners’ hearts with his classical feel singing in unplugged mode from 0.58 to 1.15 & 2.49 to 3.07 with emphasis on his lines, BHAIYA (strikes a chord) from 1.03 to 1.04, TAARE GIN GIN KAR INTEZAAR MAIN HUM BEJU BAAWRA BAN GAAYE (HISTORY typical unique HR melody twists, along with underlying TECHNO tune with terrific instrumental quality!) from 1.09 to 1.13 & 3.01 to 3.05, BHAIYA (off-da-hook gradual voice rise that gives halke se kick) from 1.14 to 1.15 & 3.06 to 3.07, whereby this is his best gaayeki in Himesh’s songs till date.

Alam Gir Khan’s lines, MIL JAAYEGI * 2 SONI KUDI TENU MIL JAAYEGI (catchy high pitched) from 1.27 to 1.32 & 3.19 to 3.24 with off-da-hook laidback drum skip pattern.

Aman’s lines, WAHE GURU DI KRIPA HOGI KAHIN NA KAHIN SE MIL JAAYEGI (catchy high pitched vocals with terrific KASHISH) from 1.33 to 1.38 & 3.25 to 3.30 with off-da-hook laidback drum skip pattern.

The male chorus lines, APNA PARIWAAR HAI MULTI COLORED HAR DESH SE HAI (HISTORY typical unique HR melody sung with sincere innocent feel vocals win over the listener) from 1.39 to 1.43 & 3.31 to 3.35 along with off-da-hook subtle drum skips in semi plugged mode, whereby the lyrics are cute.

HISTORY heavy beat effect in unplugged mode at 1.56 whereby the beat is in full form.

In between mukhda & 1st stanza, the catchy interior downtown string based theme piece with a terrific sideways shaking effect is back along with cult classical male rap from 1.57 to 2.08 in semi plugged mode.

Stanza

The composition pattern from 2.09 to 2.23 is free flowing, simple yet effective.

The lyrics, APNA PARIWAAR CHAHE MULICOLOR CHAHE PARDESI HO HAR DULHANIYA bring a smile on the listener's face.

The interior downtown string based tune from 2.14 to 2.17 & 2.24 to 2.26 gives great intermittent effect.

The underlying heavy beat effect makes full impact behind catchy male chorus lines from 2.26 to 2.32

Off-da-hook heavy beat effect at 2.37

The song ends with catchy interior downtown string based theme piece with a terrific sideways shaking effect along with cult classical male rap in semi plugged mode.

Highlights of this song:

1. Catchy male chorus, Vineet Singh’s terrific classical feel vocals, Alam Gir Khan’s terrific high pitched vocals and Aman Trikha’s terrific high pitched vocals with kashish.

2. Off-da-hook underlying heavy beat pattern that spins in an off-da-hook repetitive loop and gets the listener into da zone.

3. Catchy intermittent bazz trumpet piece followed by off-da-hook loud whoosh sound from 0.28 to 0.29 & 0.40 to 0.41 which gives jazba, sikes up the listeners, gets them into da song’s zone and makes them feel it big time.

4. History beat effect in unplugged mode at 1.56 whereby the beat is in full form and off-da-hook heavy beat effect at 0.47, 1.15 & 2.37
 
5. Underlying techno tune with terrific instrumental quality in semi-plugged mode behind Vineet Singh’s lines.

Tu Hoor Pari

The song begins with Harshdeep’s vocals in unplugged mode.

The semi-plugged beat kicks in from 0.17 onwards along with peppy Punjabi piece.

The energetic male Punjabi chants of SHERE PUNJAB join in from 0.34 to 0.39

The composition pattern of Javed Ali’s lines from 0.41 to 1.04 is simple and well structured.

Off-da-hook profound heavy dhol hits from 1.05 to 1.06 along with energetic male croons.

The clap effect kicks in from 1.06 to 1.16 & 1.27 to 1.28

The traditional raw Punjabi beat with a rustic feel from 1.17 to 1.26 is representative of rural Punjab i.e. Punjab da Pind.

Shreya’s lines from 1.56 to 2.15 have a melodious composition pattern, and have best melody in song.

Off-da-hook profound heavy dhol hits from 2.24 to 2.25 & 2.42 to 2.43 that were similarly used from 1.17 to 1.18 in UMRAO JAAN from DAMADAMM give intermittent kick.

Javed Ali’s lines from 2.30 to 2.38 have a sufiana touch.

An interior Punjabi folk harmonium piece plays from 2.48 to 2.57

Chandrakala Singh’s vocals from 2.58 to 3.25 have penetrating desperation feel as if the herioine is doing ‘fariyaad’ to uparwaala, along with profound tabla beat pattern representative to the one played in Gurudwaras.

The male chorus lines from 3.25 to 3.44 have a well structured melodious composition pattern (best melody in song) and a sufiana touch along with underlying raw rhythmic beat.

Shreya’s lines from 3.54 to 4.14 have a melodious composition pattern, and have best melody in song.

Shreya’s lines from 4.15 to 4.24 are sung with sincere innocent feel vocals, shidaat se gaaya hai.

Highlights of this song:

1. Shreya’s lines from 1.56 to 2.15 & 3.54 to 4.14 that have a melodious composition pattern.

2. The male chorus lines from 3.25 to 3.44 have a well structured melodious composition pattern and a sufiana touch along with underlying raw rhythmic beat.

3. Off-da-hook profound heavy drum roll hits.

My Picks

ORIGINALS

N.B = For a song to fall under ‘sung n composed’, Himesh must sing a solo or duet but not in chorus along with other singers.

Best songs from both ‘sung n composed’ and ‘composed only’ in totality of album are Khiladi Bhaiya and Hukka Bar.

From Himesh 'Composed Only' songs:

1. Khiladi Bhaiya & Balma - TIE

Khiladi Bhaiya

The song has off-da-hook heavy orchestration and heavy intermittent beat effects, and a stock tune which is from Himesh’s top musical drawer with typical unique HR melody. The song keeps on alternating in between full on and unplugged in terms of orchestration, and this contrasting variation catches the pulse of listener big time. The catchy trumpet piece followed by deadly killer loud woosh sound effect give full on josh, junoon n jazba. Vineet Singh's best vocals till date are in this song.



Perfect title trax and theme song for the film, with colorful rang birangi setting. Sike giving sound at 0:05 & 0:11, Vineet Singh pours his heart out in lines, Joh Par Lagaye Sab Naiyaa...from 0:52 to 1:09 on Raag based melody by Himesh, Aman Trikha's earthly rustic vocals on lines, Wahe Guru Di Kripa Hogi...from 1:27 to 1:33 are appealing, Underlying heavy drum beat that spins in off-da-hook repetitive hook from 1:49 to 1:50 is the cousin of underlying beat in Kajraare Title Trax. 

Balma

It is the most faadu track of the album, in terms of bindaasgiri i.e. rwakin intro, overall style n andaaz of singing, lyrics n their pronounciation, peppy instrumental theme piece, cult kabeela n African drum hits n wicked funky dance steps in music video. It has a special unique zing to it in totality due to which it works big time, especially in mass circuits.

Claudia really danced well in the music video. The Gorilla dance step shown on the overhead screen from 2.03 to 2.11 which Akki copies is hilarious. Asin ignores Akki's antics throughout, but when she wakes up from her seat and shows her jalwa from 2.53 to 2.56, Akki just stares as he is spell bound from 2.57 to 2.58 and a girl puts her fingers across his cheek to draw back his attention which is great. The dance step of Akki with bindaas hand movement on the repetitive lines O BALMA from 3.10 to 3.15 is full on mad cap masti and paagalpan.

2. Long Drive

This Hip Hop RnB song with a with slow moving n gradually building tempo can be looked upon in two ways i.e. it is Himesh’s version of Amplifier, or it is AAJA VE version 2. It has potential to reach cult status with its targeted youth segment. Himesh catches the pulse of the youth who love to zoom and spin around in their cars. The instrumental USP of this song is off-da-hook intermittent heavy beat pattern that gives kill effect and tremendous kick to the listener. The song belongs more to the ‘Indie Pop’ genre and is a new different attempt by Himesh – the composer in terms of compositional style and orchestration. It keeps on building up gradually throughout its duration and gets the listener slowly but surely in to da zone.

It is Asin's fav song from the album and she was often seen crooning it in any promotional interviews. Mika sung it with sharp knife edge vocals that strike a chord, whereby his best lines in the song are LONG DRIVE PE CHAL MERE NAAL from 1.34 to 1.36, 1.44 to 1.46, 3.57 to 3.59 & 4.08 to 4.10 especially the way he sings PE CHAL (OFF-DA-HOOK singing) at 1.34, 1.45, 3.58 & 4.09 in this phrase.

Its music video is shot stylishly in outdoor rugged exotic locales with apt picturization that does full justice to the song and its 'lover n car based' combo theme. The mountainous terrain does justice to Mika Singh's echo vocals in the song. The closeup of numberplate 786 along with car's intro from all front and side angles from 0.09 to 0.17 is kool. The reverse alloy rim spin of the red Ferrari from 0.48 to 0.49, 1.20 to 1.21, 1.24 to 1.25 is wicked kool. Off-da-hook additional free flowing beat joins in from 1.27 onwards. Asin's hairstyle from 2.17 to 2.19 is great and different. Akki's pose with open arms in the air from 2.14 to 2.16 strikes a chord. Akki's kaafiraana look and Asin's pose in the sand dune from 2.34 to 2.38 has great attitude. Asin's black n white striped dress is also great. Akki and Asin ne music video mein bhaut attitude, style and chill maara hai. 

3. Tu Hoor Pari

The song is an experimental fusion mix of traditional Punjabi folk (in female parts) and Sufiana andaaz (in male portions, including some Urdu words). The song may appeal to some in bits in pieces but otherwise it is a strictly situational song. The energetic male chants SHERE PUNJAB may have a limited appeal only to Punjabi listener segment. HR 2.0 is known to spring up surprises and regardless of how this song is, a Himesh fan cannot help but wonder in astonishment that how did Himesh come up with such a song because frankly such a song is not really expected from his musical stable. In terms of being the odd one out in terms of genres, this song is like a lone sheep in a pack of wolves.

The song gives a feel that there is a Gurudwaara and a Masjid across a road whereby the heroine is chanting from the Gurudwaara and hero is doing sajda for his love from the Masjid. It has two best parts in terms of best melody i.e. Shreya’s lines from 1.56 to 2.15 & 3.54 to 4.14 and the male chorus lines from 3.25 to 3.44

From Himesh 'Sung N Composed' songs:

1. Hukkah Bar

It is one of the most catchiest and addictive song of Himesh in the post ABA era. This path breaking song is the next level of music which raises the bar in future in terms of what to expect in this new Westernized sound domain. It raises the excitement in terms of what Himesh has to offer with his future songs in this uncapped genre in Bollywood.The song has a very innovative refreshing feel and everything about it sounds fresh out-of-da-box in terms of orchestration, lyrics and singing. It packs a sloid dose of adrenaline nitrate. The fact that lyrics are also penned by our very own Himesh bhai will only bring his fans closer to the song in terms of konnekt. It has outstanding lyrics by Himesh that will konnekt with his fans, especially TERI AAKHIYION KA VAAR JAISE SHER KA SHIKAAR TERA HUSN DHUEDHAAR JAISE JALTA CIGAR from 0.36 to 0.50, BAAJE DIL MEIN SITAR from 2.02 to 2.04, The thing with Himesh is that he is very unpredictable in the sense that he can suddenly change his sound domain and upgrade it newer levels which is not really expected from him at that point of time whereby he catches the listeners by surprise.

The catchy repetitive mukhda hook appears 3 times throughout the song i.e. in the mukhda from 0.54 to 1.30 (along with Vineet's alaap in between), in 1st stanza from 2.12 to 2.24 (shortened version) and near the end from 3.20 to 3.49, this 3rd one creates the maximum melody impact whereby Himesh reserves the best for the last and goes for the total melody KILL. The reason is that this repetitive hook is the LONGEST as it appears in a CONTINUOUS n UNINTERRUPTED loop 2 times, whereby the lines HUKKAH BAR at 3.23, 3.27, 3.38 & 3.41 are the BUILD UP part and get the listeners into the melody zone, followed by the KILL melody from 3.28 to 3.34 & 3.43 to 3.49 whereby the listeners totally feel the melody.

Sometimes a 'very small' variation, can enhance the melody impact n lift the tune many notches higher i.e. the HIGH note in PYAAR at 1.28, 2.23 & 3.48 is the KEY why the repetitive mukhda hook sounds so catchy as it gives the perfect finishing note effect and a killer punch. If this note was kept FLAT just like the previous notes where this word appears in the overall hook, then its melody impact would have been halved n not as impactful as it is. A great understanding of such 'peculiar fine tuned' sensibilities makes Himesh such a master of a composer.

One of the reasons why HUKKAH BAR is so catchy is also because its SCALE is perfect, there couldn't have been a better scale than this for this song.

This song would go on to become one of the most popular Himesh song in the post ABA era, and it re-proves the fact all over again that Himesh is the numero uno composer and 'mybaap' of other composers, whereby no other composer can even dream of making such a song.

The repetitive mukhda hook of HOOKAH BAR is inspired from the repetitive mukhda hook of MADHUSHALA MEIN...i.e. MADHUSHALA MEIN KHOYA, MADHUSHALA MEIN (naarebaazi, slogan based singing) * 2 = TERA PYAAR PYAAR PYAAR, HOOKAH BAR (naarebaazi, slogan based singing) * 2, followed by...MADHUSHAALA MEIN KHOYA, MADHUSHALA MEIN KHOYA, MADHUSHALA MEIN KHOYA...MADHUSHAALA MEIN = TERA PYAAR PYAAR PYAAR, HOOKAH BAAR BAAR BAAR, TERA PYAAR PYAAR PYAAR...HOOKAH BAR.

Of course, the tune of the mukhda hooks are different, but the inspiration of Hookah Bar hook comes from the Madhushala hook, in terms of the LENGTH n PATTERN of the repetitive mukhda hook and also the slogan based singing/naarebaazi for the finishing touch, and the repetitive mukhda hook of HOOKAH BAR is way catchier (in fact, Historic) than mukhda hook of MADHUSHALA MEIN, but when Himesh was composing the mukhda hook of HOOKAH BAR, there is no doubt that he was thinking about the mukhda hook of MADHUSHAALA MEIN in his mind.

Great metamorphic rhyming lyrics by Himesh. Teri Aakhiyon Ka Vaar, Jaise Sher Ka Shikaar...rhyming: Vaar and Shikaar...metamorphic: eyes cannot literally kill anybody, but once a lion locks eyes on its prey then its almost as good as a kill, and it will hunt down its already doomed prey...similarly, if a hot gal stares at and glares her eyes on her potential guy, the guy is enticed and captivated in her jaal...as they say, if looks could kill. Tera Husn DhueDhaar, Jaise Jalta Cigar...rhyming: Dhaar and Cigar...metamorphic: smoke never oozes from anyone's body, but smoke from a burning cigarette is used as a comparison for a smoking hot body in terms of the intensity of her hotness from viewer's perspective, as compared to the viewer touching a burning cigarette which is intensely hot. era Pyaar Pyaar Pyaar, Hookah Bar...rhyming: Pyaar and Bar...metamorphic...your love as addictive as going to Hookah Bar...and Bar in English also meaning Baar Baar Baar in Hindi, meaning i went again again again, as its so addictive

2. Lonely

The USP of the song that works in its favor is that its tempo is fast paced and it is a rather short n sweet composition with just one stanza, and these two aspects keep the listener engaged for its duration whereby one doesn’t mind hearing the song when it is playing. The song has an upbeat mood and ensures that there is no dull moment in it. Though it can be called mediocre in terms of being of being the ‘title track’ of such a mega project and also in comparison to ‘most of other songs’, it definitely ‘adds value’ to the album as it is a wacky fun filled song with masti along with foot tapping feel good rhythmic groove to it, which would ensure its mass appeal.

While the song has the typical Himesh stamp, it is an experimental attempt in terms of mixing everything together in terms of full on funky orchestration, male rap and singing with 3 different voices (i.e. O BAWARIYA which is deliberate nazal twang, SAANSON MEIN AANKHON MEIN NEENDON MEIN KHAWABON MEIN which is ultra sharp Akon type singing and TERI YAAD SAATH HAI which is his new non nazal Radio voice).

The song has some new age mix of innovation n elements, like the male rap that hooks on the listener with each passing hear and the different singing styles along with fast rhythm and tempo, whereby the song gets on to the listener after repeat hears.

The onscreen antics in its wacky music video whereby everyone is having a good time will ‘amuse’ the viewers, whereby most Himesh fans would like to dance along with Akki, Asin and all da bindaas dancers in that funky backdrop setting. It is a song that works on screen mainly due to Akki’s spoof on Himesh’s nazal voice and upward mike holding style, along with the fun-n-masti quotient with Akki’s funny dance movements n facial expressions, funky dancers and their dance steps, costume and hair style get-ups and for those fans who can relate to the Akki-Himesh konnektion in Namastey London courtesy of the line TERI YAAD SAATH HAI.

After seeing the pairing of Hamsika Iyer with Himesh, expectations initially rise but they are really quite not met. Although she does justice to her part as asked by Himesh, one would have expected her lines to have been in lower pitch range as opposed to high pitch in order to make maximum impact. This is said keeping in mind that she rwaked it in Chammak Challo with alto vocals in low pitch range, and therefore there is a lot of scope for Himesh to tap this untapped potential and form a potent duet Jodi in future songs which could well prove to be a formidable combo.

3. Sari Sari Raat

The song is an innovative attempt by Himesh in terms of the composition pattern, new experimental singing, along with fresh new age contemporary orchestration with modern sensibilities. It is a pleasant free flowing track that makes a good initial impression and has good repeat hear value and decent shelf life as it grows upon the listener with every passing repeat hear. If the remaining songs can be associated with mass, then this one can be associated with a touch of class. The song is best heard at nite at low volume in woofers to feel the new age beat and enjoy da pleasant soothing trax. Constant fluctuating horn sound which gives underlying scale is the instrumental USP, especially along with Himesh's line, JOH TENU VEKHEYA from 0.49 to 0.50, 3.27 to 3.28 & 4.49 to 4.50

REMIXES

While the album has many original dance tracks that can themselves do the round of discotheques, their remixes will give them competition for playtime space too which is only going to make the album a bigger mass commercial success.

1. Khiladi Bhaiya Remix, Hukka Bar Remix & Lonely Remix (tie).

2. Balma Remix.

3. Long Drive Bhangra Mix.

Verdict

Khiladi 786 ranks amongst one of Himesh’s ‘ultimate best’ albums in the post ABA era and it is also his ‘best’ album of the year thus far. The album is sure to win the hearts of his fans and recharge their musical battery to full.

The USP of this album is Khiladi Bhaiya and Hukka Bar which themselves are enough to carry the album’s weight on their shoulders. The presence of Khiladi Bhaiya which is the theme song that introduces Akki’s character in the theatrical promo is largely responsible to the fact that the trailer hit da bull’s eye and made max impact. The path breaking Hukka Bar is a trailer of the shift of Himesh’s sound domain towards the West.  In addition to these two ‘historically epic’ songs, the album is loaded with back to back faadu dance tracks one after another which are all potential chartbusters in the making which puts icing on the already tempting delicious cake, jaise ke sone pe suhaaga. Saari Saari Raat adds good variety and beings thehraav to the proceedings in album.

Himesh – the composer is in vintage resurgent mode and in top form whereby he is > 90% of his benchmark potential in Khiladi Bhaiya and Hukka Bar which rank amongst his ultimate best works in the post ABA era whereby he is back again at his musical peak. His extraordinary work and special effort also reflects in the remaining songs of the album.

The album boasts of a fresh sound as majority of songs like Balma, Long Drive, Hukka Bar and Saari Saari Raat don’t have the trademark Himesh stamp, but a new different approach to compositional style and music arrangement. It shows Himesh’s versatility as although the mandate for the film was a boundary perimeter of scoring massy tracks, he did not back off in terms of experimentation due to which all tracks sound diverse and different from each other rather than being in one mode, despite them being massy. Three songs take a different en route to the otherwise usual fixed stereotype of set 2 stanzas, as the album has Lonely, Balma and Khiladi Bhaiya which have only 1 stanza.

Strong points as a composer:

Composition

Best composition in the mukhda of Khiladi Bhaiya which consists of typical unique HR melody, and the catchy repetitive mukhda hook in Hukka Bar which is one of his catchiest ever mukhda hook in post ABA era.

Orchestration

The key reason that the massy dance tracks in this album work big time is due to the class in their orchestration whereby Himesh has carefully laid out the music arrangement and used off-da-hook intermittent beat effects to catch the listener’s pulse. He has notched up his sound design and engineering for this album, with no scope for stereotype beats and other stereotype instruments.

Orchestration in Balma, Long Drive, Khiladi Bhaiya, Hukka Bar and Saari Saari Raat is standout as compared to remaining songs.

> Khiladi Bhaiya - Underlying heavy beat pattern which spins in an off-da-hook repetitive loop and catchy intermittent bazz trumpet piece followed by off-da-hook deadly killer loud whoosh sound which is cult stuff.

> Hukka Bar – the underlying live wire electro beat which is the ‘next level of music’ in Bollywood.

> Saari Saari Raat - off-da-hook fluctuating loud funky horn piece that plays throughout in the backdrop and gives catchy scale.

> Balma – Rwakin build up at start with off-da-hook African drum beat pattern that spins in an off-da-hook repetitive loop followed by off-da-hook catchy fluctuating bazz sound followed by profound quick tabla hits.

> Long Drive - Off-da-hook intermittent heavy hit pattern which is instrumental USP and gives the kill effect, and rhythmic RnB Hip Hop beat along with fluctuating vibrant metal guitar, and additional free flowing Waltz beat pattern.

Vocals

This album boasts of terrific production values in terms of sound quality, and voice recording is mind blowing especially in Balma, Hukka Bar and Long Drive whereby vocals sound crystal clear.

> The the computerized techno vocal effect in Hukka Bar is the ‘next level of music’ in Bollywood.

> Himesh backs his prodigies and they deliver big time in Khiladi Bhaiya and Hukka Bar.

> Shreya rwaks it and hits a sixer with her seductive feel vocals in Balma.

Lyrics

Lyrics are not usual conventional déjà-vu run of the mill stuff, but experimental out-of-da box unusual innovative which enhance the fresh appeal of the album.

> Lyrics of Khiladi Bhaiya are family oriented.

> Lyrics of Hukka Bar like TERI AAKHIYON KA VAAR JAISE SHER KA SHIKAAR, TERI HUSN DHUEDAAR JAISE JALTA CIGAR, BAJE DIL MEIN SITAR by Himesh himself are just rwakin n totally konnekt with his fans.

> Lyrics of Balma like FIRE BRIGADE MANGWADE TU, ANGAARON PAR HAIN AARMA are rwakin.

Cons

In terms of being the 'title track' of an album of such a mega project, Lonely is not quite up to the high expectations whereby remaining 'massy' tracks are better than it. In fact, one would have expected Himesh to sing (in solo or duet, but not in chorus) the most faadu tracks of the album like Hukka Bar, Khiladi Bhaiya or even Balma, but the most faadu songs are sung by other male singers. While Lonely and Sari Sari Raat are 'decent' hears, one just imagines the outcome of the album if Himesh could have 'sung and composed' two absolute faadu tracks, that were on par or somewhere near Hukka Bar and Khiladi Bhaiya.

Therefore, the one shortcoming of the album is that those songs sung by Himesh could be more faadu than what they are, but ofcourse the remaining songs compensate for this fact with regards to the totality of the album. The second shortcoming is that Tu Hoor Pari is not at par with remaining songs. Guess this is where the ‘law of averages’ catches up but only to an extent whereby one only wonders that if it could be at the same level as the remaining songs, then how much further could the album’s already high bar have been raised. Having said that, the positives are that Lonely has been received well by the masses and Tu Hoor Pari will enhance the situational appeal in the film.

Conclusion

Himesh is a street smart composer and with this album he has caught the pulse of masses. The opinion that since songs are massy and therefore will have a small shelf life is a ‘total myth’ because many of these songs have a great repeat hear value and will be a ‘lambi race ka ghoda’ which will stick and linger on in people’s minds. Along with the original dance tracks, the remixes too will continue to find ample airtime in the discotheques in the coming time.

It is a full on Himesh Reshammiya loaded album with a full on commercial mass appeal, with one track after another having chart buster potential.  Upon hearing the album, one feels that Himesh Reshammiya’s talent and potential can never ever be underestimated because he keeps on peaking to newer heights that can never ever be matched by other composers, and he will continue to do so even in the future!

Khiladi Bhaiya is in da house and Himesh has a winner up his sleeve. In this regard, his fans would not mind Khiladi Bhaiya Aka Bahattar (but not any other actor) doing a spoof on Himesh’s nazal based singing and upward Mike holding style because it is all in good taste. This album will only further enhance the box office opening of the film as the songs begin to climb the charts as the film's release approaches closer, whereby it is all thanks to Khiladi kumar for agreeing to continue the Khiladi series and co-produce it with HR Musik.

Himesh and Akshay have had many hit musical outings whenever they have worked together in the past. In fact, Akki is the one of the only A league actor for which Himesh has scored max number of albums n songs in post ABA era (than any other A league actor), and it is hoped that their friendly association also continues in the future, perhaps by playing the lead in a forthcoming HR Musik project or with another Khiladi 786 sequel!

Lonely - Remix

Best part in the remix is from 1.28 & 1.59 onwards.

Yo Yo Honey Singh's hairstyle is cult.

Akki n Honey Singh are doing the nazal spoof on Himesh, whereby Himesh dil kholke aur seena thok ke bol rahe hain that, yes main nazal hu, any probs!

N.B = time stamps below are as per OST, not in the music video.

The remix takes the original version to an altogether higher level.

The repetitive clap effect and remix tune from start to 0.14 builds up the remix.

Heavy thump effect kicks in from 0.15 to 0.29

The feel good fluctuating remix tune and free flowing remix beats along with Himesh’s line, ME KITNA (computerized repetitive vocal effect) from 0.30 to 0.44 gets the listeners into da zone.

Feel good fluctuating remix tune along with free flowing remix beats from 1.08 to 1.22, 1.40 to 1.52 & 3.08 to 3.20 & 3.39 to 3.54 which gets the listeners into da zone and sways to the rhythmic groove.

Profound heavy bazz sound effect in unplugged mode from 1.07 to 1.08, 1.38 to 1.39, 3.06 to 3.07 & 3.38 to 3.39

Repetitive clap effect from 1.54 to 2.01 joined in by thump effect from 2.01 to 2.08 followed by full on underlying free flowing remix beats from 2.09 to 2.23 along with Yo Yo Honey Singh’s rap is tremendous build up.

Repetitive clap effect from 2.44 to 2.52 causes gradual build up, followed by increase in tempo whereby claps become aggressive from 2.52 to 2.58

The feel good remix tune along with free flowing remix beats gets the listeners into da zone.

The remix ends with a fading spiral whoosh effect from 3.57 to end as if a dead comet is falling from space.

It has 2 best parts:

> feel good fluctuating remix tune along with free flowing remix beats from 1.08 to 1.22, 1.40 to 1.52 & 3.08 to 3.20 & 3.39 to 3.54 which gets the listeners into da zone and gets them swaying to the rhythmic groove.

> the repetitive clap effect in semi-plugged mode joined in by repetitive thump effect from 1.54 to 2.08 which builds up Yo Yo Honey Singh's rap, followed by full on remix beats from 2.09 to 2.23 which makes the listener feel it big time.

Hukka Bar - Remix

The remix starts with a gradually rising whoosh sound until 0.03 as if a turbine engine is started.

Off-da-hook computerized vocal echo skip effect from 0.03 to 0.17 along with repetitive clap effect and underlying fluctuating techno bazz sound.

The loud gust of wind that blows across from 0.32 to 0.36 & 1.32 to 1.38 is great build up.

The remix is in full form from onwards 0.36, 1.38 & 2.47 onwards upon the arrival of free flowing remix beats.

Underlying synth ambient tune from 0.38 to 0.47, 1.38 to 1.52 & 2.49 to 3.01

Off-da-hook computerized vocal echo skip effect from 0.50 to 1.04 & 3.02 to 3.16 along with catchy male chorus is rwakin.

The gradually accelerating beats from 1.05 to 1.12 cause great build up and give intermittent kick.

The gradually accelerating beats along with wicked Sci Fi techno sounds from 2.07 to 2.21 cause great build up.

It is time for Robotic break dance from 2.22 to 2.35 on off-da-hook techno sound effects and sharp hit pattern.

The remix ends with a gradually fading whoosh sound as if a Jet engine is switched off.

Long Drive - Bhangra Mix

This Punjabi flavored mix which has ‘Punabi di mitti ki khushboo’ will be lapped by the Punjabi youth’s who would love to do Bhangra on it.

The arrangements are minimalistic in stanzas from 1.15 to 1.31 & 2.12 to 2.29

Balma - Remix

The electronika beat pattern from start to 0.16, 1.00 to 1.13 & 2.36 to 2.48 gets the listener into da zone.

The accelerating sound that gradually grows upon the listener from 0.16 to 0.30, 0.48 to 0.59, 2.58 to 3.07 & 4.12 to 4.22 is as if a Formula 1 car zooms in a Moto Grand Prix.

The fluctuating whoosh effect from 0.42 to 0.44, 1.12 to 1.14, 1.47 to 1.49 & 2.32 to 2.35

The quick hard hit pattern from 1.29 to 1.30, 2.15 to 2.16, 3.05 to 3.07 & 3.28 to 3.29 gives intermittent kick.

The remix ends with a gradually fading echo whoosh skip effect.

Khiladi Bhaiya - Remix

The remix builds up with off-da-hook profound heavy drum hits from 0.06 to 0.10

Off-da-hook quick beat effect at 0.11 & 0.28

The remix beat from 0.12 to 0.23 along with cult male classical rap gets da listener into da zone.

The listener totally feels the remix from 0.29 onwards.  

BEST part of the remix is the RWAKIN bazz sound at 0.43 behind the line PAAR LAGAYENGE at 0.43, at 1.12 & 3.03 behind the line INTEZAAR MEIN HUM, at 1.41 & 3.33 behind the line HAI MULTI COLOR, at 2.33 behind the line GAON KOH SAJAYENGE that gives terrific catchy overall sur to the vocals.

The quick skip effect of string based instrument from 1.57 to 2.08 is great.

Mash Up



This mashup is the 'mybaap' of all 'faadu' remixes. This 'all in one' promotional prop that is just rwakin and has hit the bulls eye is perfect for doing the rounds in discotheques, and should also have been included in the audio CD.

Underlying remix beat is free flowing.

Best parts are Hookah Bar part from 1.13 to 1.26 & 2.31 to 2.44 and the lines Long Pe Chal (repetitive echo effect)...Hukka Bar (repetitive echo effect)...Khiladi (off-da-hook catchy high pitch) from 0.19 to 0.30, 1.28 to 1.40 & 2.45 to 2.59

Off-da-hook thump beat effect from 1.12 to 1.13 & 2.29 to 2.30

Tseries released a couple of mash ups before but they were a mix of different songs, but this mashup is a trend setter coz it has all songs of one particular album.

It is not an easy to create a mashup since all songs could have a different scale, but the fact that most songs were fast paced energetic dance tracks or dance numbers made it slightly easier in terms of the tempo and flow of the mash up.

Balma - Music Video Review

Most dance moves of Claudia are mindblowing joh basically dimag kharaab kar deti hain, but her most rwakin dance move is this bindaas trademark move. RD Burman's pic in the top background screen is nice.

Claudia1

Bindaas Gorilla dance step rwak.

Gorilla_dance_step1

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