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Bol Bachchan

This promotional song delivers in terms of its intended purpose i.e. it promotes the film’s title as it has catchy repetitive hooks of the film’s title and it promotes the film’s genre as it contains a mix of everything associated with it i.e. fun, dance, humor and entertainment.

The tune of the song is such that it gets quickly on the listeners lips whereby they find themselves humming it, and it is that simple and well structured that even if you randomly pick the average common man from aam junta who is basically a bathroom singer with hardly any playback singing expertise and experience in the music studio, and ask them to sing it, they will be able to do so with relative ease and comfort, as there are no difficult high pitched lines or complex prolonged alaaps with twists n turns. Yet, the end product will sound damn catchy. This is where the street smart musical sensibilities of Himesh - the composer come to the forefront whereby he has pulled off a great feat by making all three sing their respective parts proficiently. After all, who else than Himesh – the actor knows better how it feels to lip sing his own songs on screen to ensure that sync and believability, and on this basis he convinced the 3 protagonists and was keen to have them come behind the mike as well.

However, since this song has so many diverse musical n vocal elements along with dialogue interludes which are all mixed n interwoven together, after hearing it in the promotional music video along with all dance sequences n grand lavish set which can give an overwhelming 'audio visual' appeal, the listener will need some time to get used to, accustomed with and enter into the song's melodious and rhythmic groove in the audio version, but once that happens then it will catch on like anything.

As can be evidenced in the music video whereby Big B takes the centre stage in between Ajay Devgn and Abhishek Bachchan, he also carries the playback singing on the weight of his strong ‘musical’ shoulders with his 'wazan daar' vocals.

The orchestration and vocals have a mixed flavor of ‘Auhentic Desi’ and ‘South Indian’.

The raw quick south Indian drum hits that catch the listener’s classical pulse from 0.43 to 1.00 are joined in by a banarasi babu theme piece from 0.47 to 1.00

Catchy string flicks along with fluctuating synth bazz sound from 1.01 to 1.04 that brightens up and uplifts the mood, are followed by off-da-hook catchy grand fanfare trumpet tune from 1.05 to 1.12 that slowly but surely gets the listener into da zone.

The male build up vocals, BOL BOL BOL BOL BOL (OFF-DA-HOOK catchy repetitive hook) from 1.13 to 1.19 that give JAZBA along with peppy finger snaps get the listeners swaying to da rhythm’s groove.

Big B’s line, BOL BOL BOL BACHCHAN (off-da-hook catchy) from from 1.22 to 1.23, 2.17 to 2.18 & 3.10 to 3.11 strikes a chord and gets da listener into da zone.

Himesh - the composer wins over the listener with his HISTORY catchy mukhda tune, BOL BOL BOL BACHCHAN...SUN SUN BOLE KYA BACHCHAN from 1.23 to 1.40, 2.18 to 2.26 & 3.10 to 3.19 & 5.45 to 5.49 which is simple and well structured i.e. with emphasis on lines BOL BACHCHAN (HISTORY catchy higher note) at 1.37, 2.24, 3.17 & 5.46, BOLE KYA BACHCHAN (HISTORY catchy lower note) at 1.40, 2.26, 3.19 & 5.49

The line, BACH-CHAN at 1.24, 1.29, 1.33, 1.37, 3.12 & 3.17  has typical unique HR melody note.

Big B's 'vocal depth variation' in his mukhda lines is tremendous i.e. they have off-da-hook soothing feel from 1.23 to 1.33 and they gradually deepen from 1.34 onwards until they become heavy wazandaar in his line BOLE KYA BACHCHAN from 1.38 to 1.40 whereby Big B is in his vintage singing mode. This is great vocal control n command from a veteran who occasionally sings only on special occasions.

The vocals from 1.42 to 1.59 further build up the song.

Some of the lyrics are in ‘shud Hindi’ with deep rooted meanings.

The rwakin underlying fluctuating synth bazz sound which gives a repetitive rhythmic hook from 1.43 to 1.48 was a touch similar in terms of its fluctuating pattern to the underlying fluctuating bazz sound from 2.51 to 2.54 & 3.50 to 3.53 in KAJRAARE TITLE TRAX.

Off-da-hook raw SHARP drum skips from 2.00 to 2.04 & 2.26 to 2.30 get the listener’s foot tapping.

Big B’s line, DIN ME BHI DI (off-da-hook feel good vocals) KHADE from 2.05 to 2.06

Off-da-hook fast drum-roll hits from 2.06 to 2.07 give kick followed by profound bazz sound from 2.08 to 2.09 that gives halke se kick.

The female nazal vocals from 2.30 to 2.47 have an old-age touch, and Himesh used such vocals to create similar effect in MADHUSHALA MEIN from DAMADAMM and in 2nd stanza of DAMADAMM TITLE TRAX.

Himesh gives chance to his chaila Vineet whenever the scope presents itself, and his high pitched computerized alaap with off-da-hook prolonged twists n turns PENDULUM from 2.48 to 2.58 is apt in his sharp vocals. This whole line has a strong ‘South Indian aaiyo swami’ feel to it.

The lol line Pendulum at 2.48 & 2.56 is said in a funny way as if to make a mockery of the word i.e. yeh maine kya bola Pendulum, lol yeh toh Pendulum hai.

The voice modulation in terms of the pitch range of all 3 vocals in the line BOL BOL BOL BOL BOL from 3.02 to 3.08 works in totality i.e. Big B has sung the same lines in high pitch whereas Ajay and Abhishek have sung them in super lower bazz octave, and this overall pitch range contrast gives a wholesome feeling and sounds off-da-hook catchy. 

Best mukhda lines are Big B's lines, BOL BOL BOL BACHCHAN (off-da-hook catchy) from 1.22 to 1.23, 2.17 to 2.18 & 3.10 to 3.11, and Big B's off-da-hook catchy lines, BOL BOL BOL BACHCHAN (off-da-hook catchy higher note) SUN SUN BOLE KYA BACHCHAN (off-da-hook catchy lower note) from 1.23 to 1.40, 2.18 to 2.26 & 3.10 to 3.19 which is simple and well structured.

Between mukhda & 1st stanza, the quick South Indian styled raw drum hits catch the listeners classical pulse from 3.21 to 3.32 are joined in by the Interior banarasi babu harmonium theme piece from 3.26 onwards, followed by the catchy string riffs and the underlying rwaking fluctuating synth bazz sound from 3.32 to 3.39 that brightens up, uplifts the mood and gets da listener into da zone. Ajay’s broken English is rwakin from 3.48 to 3.55, especially his line YA YA as if he knows everything.

1st stanza

Big B’s lines, JHOL JHAAL KE PANGHAT PE BEHTI HAI JHOOT KI NADIYA, WAHAN SE SEEDHE HAATH PE HAI CHAL KAPAT KI DAGARIYA (damn catchy vocals) from 3.57 to 4.04 strike a chord and just win over da listener, with emphasis on his lines PANGHAT PE (off-da-hook catchy) from 3.57 to 3.58, NADIYA (off-da-hook catchy twist) from 3.59 to 4.00, HAAT PE HAI (off-da-hook catchy) at 4.02

The voice modulation in terms of the pitch range of Ajay and Abhishek’s lines from 4.06 to 4.13 is great i.e. they have sung the same lines in high pitch and super lower bazz octave which makes their vocal combo OFF-DA-HOOK CATCHY and perfectly compliment Big B’s preceding lines.  

The tune of the lines, JHOL JHAAL KE PANGHAT PE BEHTI HAI JHOOT KI NADHIYA WAHAAN SE SEEDHE HAAT PE HAI CHAL KAPAT KI DAGARIYA from 3.56 to 4.13 is inspired from the tune from 2.28 to 2.51 & 4.10 to 4.33 in stanzas of KIS KADAR CHAHATE HAIN from ANJAANE – THE UNKNOWN and it is good to know that HR 2.0 is still has the pre ABA composer very much inside him and is thinking on those compositional lines and melody notes.

Big B’s lines, TERA BHARGA (off-da-hook feel good vocals) YA GHARA from 4.19 to 4.20

Big B’s line, TANKEE from 4.21 to 4.22 is sung with energetic zeal and aggression, followed by a wicked profound bazz sound that gives halke se kick.

The peppy dhol beats that join in towards the end from 5.14 onwards enhance the rhythm quotient and they are in perfect sync with Big B's lines.

Vineet’s computerized high pitched alaap with off-da-hook prolonged twists n turns arrives back from 5.40 to 5.49 as if to remind the listener not to forget PENDULUM which will be a hit line amongst the youth, and it strikes a chord in terms of the overall context of Big B's lines.

Big B's HISTORY catchy line, BOL BOL BOL BACHCHAN...SUN SUN BOLE KYA BACHCHAN from 5.45 to 5.49 which is simple and well structured i.e. with emphasis on lines BOL BACHCHAN (HISTORY catchy higher note) at 5.46, BOLE KYA BACHCHAN (HISTORY catchy lower note) at 5.49

The song ends with OFF-DA-HOOK catchy grand fanfare trumpet 5.49 to 5.51 in unplugged mode, followed by Big B's hilarious explanatory dialogue YOU SEE SIR.

Highlights of this song:

1. The vocal combo of all the 3 protagonists Big B, Ajay Devgn and Abhishek Bachchan, with emphasis on the contrast in their pitch ranges to make the overall combined vocals sound catchy.

2. Banarasi Babi harmonium theme piece used intermittently throughout, quick raw South Indian flavored drum hits at start, catchy string flicks along with fluctuating synth bazz tune followed by off-da-hook catchy grand fanfare trumpet tune that cause build up at start, off-da-hook raw sharp drum skips that get the listener’s foot tapping, peppy finger snaps, off-da-hook fast drum-roll hits that give kick followed by profound bazz sound that gives halke se kick.

3. Quick South Indian styled raw drum hits that catch the listeners’ classical pulse, followed by the catchy string riffs and the underlying rwaking fluctuating synth bazz sound in between 1st stanza gap.

4. Vineet’s prolonged high pitched alaap with off-da-hook prolonged twists n turns PENDULUM with a South Indian aaiyo swami feel to it.

5. The female nazal tone vocals that are representative of the old age.

Considering the fact that this song was supposed to be sung by two non singers (Ajay n Abhishek) and one who sings once in a blue moon on special occasions (Big B), and the fact that the song would be having intermittent dialogue interludes, one was always initially skeptical in terms of the expectations of the final offering. Having said that, one is pleasantly surprised as the song is ‘well above expectations’ in that regard.

See here how 'an almost 70 year old to be' veteran superstar has sung this song so brilliantly and sincerely, and backed it up with unmatched vigor n energy levels with his dance steps, thus proving the tag line of his film 'Buddah Hoga Tera Baap'. On this count, this song should also be celebrated for Big B's legacy and Himesh's tribute/homage to the evergreen "living" legend.

Bol Bachchan - Music Video Review

The audio visuals are a musical extravaganza and a spectacular visual treat which will bring a smile of joy on the listeners face.

Where this song scores is that it gives jazba and a feel good sense to Himesh fans, because they know that whatever antics the veteran superstars are doing on screen is basically on the tune of Himesh Reshammiya.

The door opens quickly in a funny manner along with a whoosh sound from start to 0.01

Ajay’s broken English lingo is rwakin especially I CAN LAUGH ENGLISH at 0.03, in the sense he doesn’t give a damn as to what other people think about it as he thinks that whatever he says is correct.

Abhishek’s line, EXCUSE ME PLEASE from sounds hilariously gay.

Big B yells HAAAAI loudly to attract everyone’s attention and to cut off Ajay and Abhishek’s previous stammering lines.

His line, YOU SEE SIR at 0.02 and SIMILARLY SIR at 0.10 is said in a hilarious explanatory way, and is one of his funniest line.

Big B’s attire and comedy sense/timing is like ‘Bade Miyaan’ of Bade Miyaan Chotte Miyaan.

The rhythmic swaying hand movements of the female dancers from 0.02 to 0.17 along with Ajay’s, Abhishek’s and Big B’s dialogues from start to 0.41 give a nostalgic feel.

His line, PAPAD IS AN EXACT REPLICA OF A JHAPAD is lol and it rhymes, whereby the whole sentence from 0.28 to 0.41 has an interconnected meaning to it.

The manner in which Abhishek and Ajay look at Big B’s antics in astonishment at 0.47 is hilarious.

The naughty jovial female dancer on the left shakes it real good by ‘ek dum mast thumka lagaike’ from 0.48 to 0.49 and woh actually darasal kya hota tha ki aisi aadayein dekh ke basically dimag kharaab ho jata hai [fun intended].

The facial expression of all the 3 when the trumpet disappears from 1.13 to 1.14 and they look in amazement is hilarious.

The way everyone sways to the groove from 1.14 to 1.20 is off-da-hook super kool.

Vintage Big B expression at 1.55

The rhythmic circular 360 degree hands up in the air swaying move from 2.12 to 2.15 is very graceful.

Big B’s line KYA BAAT HAI with his hand movement at 2.37 is hilarious and one of his funniest line.

Big B gives a surprised look as the female dancer grabs him from behind from 2.38 to 2.39 followed by the mischievous smile as if he likes it.

His swaying hand momement to depict the pendulum is hilarious.

The Pendulum line sums up the very essence tale of the film whereby Ajay and Abhishek are sitting on a lifted pendulum with the film’s title below from 2.25 to 2.38, and its sideway sways in tilt in each other’s favor signifies the ‘tu tu mein mein’ see-saw con game between both the protagonists, jahaan pe baazi kabhi bhi palat sakti hai.

The dance steps behind the PENDULUM lines from 2.50 to 2.57 have a traditional South Indian Karnataka dance steps flavor to it.

The blue themed shervaanis of Ajay and Abhishek and the red themed shervaani of Big B are their best costumes in the song.

The harmonium piece depicts the Banarasi Babu feel, and Big B's depicts his mast bindass Banarasi Babu facial expression from 3.11 to 3.16 behind the harmonium piece.

The rhythmic sideways swaying movement of female dancers from 3.26 to 3.32 is graceful.

Ajay Devgn returns with his rwakin non-comprehendo English dialogue from 3.28 to 3.33

Big B’s quick sideways hand movement at 3.36 followed by quick hand descent at 3.39 is graceful.

The dance steps from with scarf from 3.44 to 3.51 are off-da-hook mast bindaas tapori ishtyle.

Big B says in an aggressive taunting manner TANKEE and Ajay Devgn’s hand movement signals to Abhishek to ‘mundi ghumaliye’ to which Abhishek quickly rotates his face sidewards is great timing.

All 3 actors are sitting like maharajas showing fulltu attitude with super kool feet movement and collar tugging which displays off-da-hook fulltu attitude on Himesh’s tune from 4.02 to 4.10 gives a very satisfying n sike giving feeling.

The way Big B leans forward with a cheeky smile from 4.06 to 4.07 is rwakin.

Abhishek’s expression with style and attitude from 4.10 to 4.18 is followed by hilarious facial expression / lip movement from 4.18 to 4.19 as he is abruptly interrupted by his dad.

Abhishek’s neck rotation both ways in confusion from 4.27 to 4.28 is hilarious.

Ajay Devgn returns with his rwakin non-comprehendo English dialogue from 4.27 to 4.32

From 4.41 to 5.10, the lighting contrast is used to great effect as the darkened effect with lights out highlight the brightly reflecting and illuminating dhols.

The facial expression in Big B’s ending dialogue, YOU SEE SIR from 5.11 to 5.12 whereby he is smiling followed by, THE WHOLE from 5.12 to 5.13 whereby his eyebrows go upright is great spontaneous comic timing.

Big B at that mature ripe age again shows what passion he has for his craft and shows remarkable energy levels and zeal, thus confirming that it doesn’t matter to be young but to be young at heart, and reaffirming one of the tag lines of his recent films ‘buddah hoga tera baap’.

The whole set design, lighting, dancers and costumes are a ‘grand stylized magna opus’ whereby the planning, time and effort put into it all can be clearly seen in the colorful visuals. The synchronization of all dancers also shows the perfect rehearsal done over the 5 day shooting of this song.  In terms of the ‘scale’ of the whole thing, it is difficult to remember when such a visual setting was seen last time in any Bollywood song.

All the 3 have a blast on the mega lavish set and do their thing with full on masti and dhamaal.

The funniest line in the video is PENDULUM at 2.48 & 2.57

The funniest line of Big B is YOU SEE SIR at 0.27 & 5.11, and KYA BAAT HAI at 2.37

Also where this song will score is that while aam junta may have mixed opinions on Abhishek Bachchan, but when the father-son duo comes together, there is an ‘emotional konnekt’ with their ‘well wishers’ especially so for those that have witnessed the cinematic legacy of Big B throughout all those decades.

Chalao Na Naino Se

Himesh pulls out one of his ‘stock’ tunes from his ‘top musical drawer’ that is full of ‘typical unique HR melody’. Each and every note of this song has melody.

The song begins with Himesh’s innocent feel build up vocals in unplugged mode until 0.14 along with a terrific continuous catchy background tune.

The peppy interior downtown theme piece from 0.15 to 0.26 in unplugged mode uplifts and brightens up the listener’s mood, whilst building up the song tremendously.

Himesh HITS IT really good the traditional authentic way from 0.26 onwards with the mast jhakaas rhythmic beats. The orchestration is such that forget about youngsters, even a dying old man with hardly any energy and willpower will change his plans to go the grave and will wake up instead and start dancing to the beats rhythmic groove.

Himesh’s off-da-hook catchy starting mukhda lines from 0.37 to 0.44 along with intermittent daffli skips further builds up the song.

The beat effect hits in sync with Himesh’s lines, JAAN LELO NA from 0.44 to 0.45 followed by his line JAAN RE (HISTORY typical unique HR melody) from 0.46 to 0.47 along with off-da-hook beat effect that delivers the vocal n instrumental KILL effect.

The song is full on from 0.47 onwards whereby the message and intent is for the listeners to come out in hordes in their traditional attire of lungis n dhoties and sway in ecstasy with tapori dance steps i.e. life mein joh bhi tension vension hai who sab bhoolke bas jhoom barabar jhoom.

The beat effect hits in sync with Himesh’s build up lines HUMRI BODY SE * 2 from 1.00 to 1.01, 1.02 to 1.03 & 1.04 to 1.05 along with the quick intermittent beat effect at 1.01 & 1.03 that catches the listeners pulse and gives kick, followed by his line PRAAN RE (HISTORY typical unique HR melody) from 1.05 to 1.06 along with off-da-hook beat effect that delivers the vocal n instrumental KILL effect, whereby the song catches steam again to return to its rhythmic best.

Outstanding innovative Hin-glish lyrics HUMRI BODY SE PRAAN SE will konnekt big time with listeners, hats off to the lyricist Shabbir Ahmed.

Off-da-hook quick beat skip effect at 1.11

The male chorus lines JAAN LELO NA JAAN RE from 1.23 to 1.28 are damn catchy.

Shadab Shabri goes all out with his lines SHAMIL NA HO * 4 from 1.30 to 1.37, with emphasis on his line HOO-OOO (HISTORY typical unique HR melody) from 1.35 to 1.36, and SHAMIL NA HO (HISTORY fulltu high pitch) from 1.33 to 1.34 & 1.37 to 1.38

The beat effect hits in sync with Himesh’s build up lines HUMRA BHOOTON MEIN * 2 from 1.38 to 1.39, 1.39 to 1.40 & 1.41 to 1.42 along with the quick intermittent beat effect at 1.39 & 1.41 that catches the listeners pulse and gives kick, followed by his line NAAM RE (HISTORY typical unique HR melody) from 1.42 to 1.43 along with off-da-hook beat effect that delivers the vocal n instrumental KILL effect, whereby the song catches steam again to return to its rhythmic best.

Himesh sings his line HAMRA at 1.41 in an innocent halke se feel manner that is representative of a proud villager.

The combo of Himesh’s and male chorus lines HUMRA BHOOTON MEIN NAAM RE from 1.45 to 1.47 is damn catchy and the BEST lines of the mukhda.

Outstanding innovative refreshing lyrics HUMRA BHOOTON MEIN NAAM RE will konnekt big time with listeners, hats off to the lyricist Shabbir Ahmed.

Off-da-hook quick beat skip effect at 1.56

Between mukhda & 1st stanza, the peppy interior downtown theme piece plays from 1.58 to 2.08

1st stanza

Shreya’s melodious innocent feel vocals from 2.08 to 2.23 are representative of the shy gaon ki chori, along with quick raw matka hits.

The additional matka effect that joins in from 2.16 to 2.23 catches the listeners pulse.

Himesh’s lines from 2.23 to 2.30 along with quick peppy traditional skips win over the listener.

The catchy harmonium piece from 2.31 to 2.38 enhances the Banarasi Babu feel.

The song becomes full on rhythmic from 2.39 onwards for the listener to sway away in ecstasy.

Between 1st & 2nd stanza, Himesh ensures that the masti dhamaal quotient is kept up with the fun filled teasing male croons UMMMM from 3.13 to 3.19 which are representative of the pehelwaans doing kasrat in the aakhada, followed by peppy harmonium piece and peppy interior downtown tune from 3.28 to 3.33

2nd stanza

It is better that the 1st stanza, in terms of the lyrics and vocals.

Shreya’s melodious innocent feel vocals from 3.34 to 3.48 are representative of the shy gaon ki chori, along with quick raw matka hits.

The additional matka effect that joins in from 3.41 to 3.48 catches the listeners pulse.

Himesh’s lines from 3.48 to 3.56 along with quick peppy traditional skips win over the listener, with emphasis on his desperation feel lines ZINDAGI CHAAR DIN KI MERE HUMSAFAR from 3.52 to 3.56 that konnekt.

The catchy harmonium piece from 3.55 to 4.03 enhances the Banarasi Babu feel.

The song becomes full on rhythmic from 4.03 onwards for the listener to sway away in ecstasy.

Shadab Shabri goes all out with his lines SHAMIL NA HO * 4 (OFF-DA-HOOK fulltu high pitched) from 4.37 to 4.44, with emphasis on his line HOO-OOO (HISTORY typical unique HR melody) from 4.42 to 4.43, and SHAMIL NA HO (HISTORY fulltu high pitch) from 4.40 to 4.41 & 4.43 to 4.44

Himesh sings his line HAMRA at 4.48 in an innocent halke se feel manner that is representative of a proud villager.

The male chorus lines JAAN LELO NA JAAN * 4 from 5.03 to 5.13 are damn catchy.

Highlights of this song:

1. Himesh’s versatility in terms of his ‘straight singing style’ which is suitable for the Desi genre.

2. Mast jhakaas underlying rhythmic beats, peppy interior downtown theme piece and off-da-hook quick beat skip effect at 1.11 & 1.56

3. Shadab Shabri’s lines, SHAMIL NA HO * 4 (OFF-DA-HOOK fulltu high pitched) from 1.30 to 1.37 & 4.37 to 4.44, with emphasis on his line HOO-OOO (HISTORY typical unique HR melody) from 1.35 to 1.36 & 4.42 to 4.43

4. Damn catchy male chorus lines JAAN LELO NA JAAN RE and HUMRA BHOOTON MEIN NAAM RE, and the dumdaar male chorus UMMMM which is representative of the kasrat of the pehelwaans in the akhaara.

5. Outstanding innovative Hin-glish lyrics HUMRI BODY SE PRAAN SE and innovative refreshing lyrics HUMRA BHOOTON MEIN NAAM RE that konnekt big time with listeners, hats off to the lyricist Shabbir Ahmed.

Chalao Na - Music Video Review

There could not have been a better music video than this for Chalao Na Naino Se so hats off to the choreographer Raju Khan.

Ajay Devgn lip singing on Himesh Reshammiya's vocals is a 'sike giving' feeling as their pairing is unique and they have never ever worked together before.

The guy on the left massages Ajay’s leg in a funny way from start to 0.03

When Ajay holds his heart on the line JAAN LELO NA JAAN RE at 0.10, it konnekts in the sense that 'tapori log ke paas bhi dil hota hai'.

Asin blushes like a shy gaon ki chori from 0.03 to 0.05 & 0.10 to 0.12 after looking at Ajay’s antics, woh palak jhapak ke aur muskura ke shaarmati hai. Bhaut kamsin aadayein hai joh dil koh ghayal kar deti hain.

All hell breaks loose upon the arrival of the mast jhakass rhythmic beats from 0.20 onwards.

Ajay’s dance step with sideways extended hand moments from 0.20 to 0.22 is hilarious, as evidenced by the guy on his left with yellow kurta who takes a step down as he breaks into a big smile after seeing his antics.

All his goons follow his dance step from 0.21 onwards, and while Ajay's and Asin show their dancing prowress, all the pehelwaan dancers in the backrdop also steal the show and make their presence felt by their hilarious dance moves, thus putting spice, masala and tadka to this music video.

The lines in unplugged mode strike a chord from 0.31 to 0.38

The RWAKIN dance step of Ajay and his goon dancers from 0.41 to 0.45 along with the rotational camera angle that zooms in side wards gives SIKE / JAZBA, and this is the best orchestration in the music video.

Cutie Mutie Asin just smiles at Ajay's and his goons dance antics.

By this time, goons koh full on masti chad gayi hai and their dance steps are hilarious. The guy wearing the maroon kurta runs quickly in a funny way from 0.50 to 0.51 followed by the wicked dance step of the guy wearing aqua green kurta from 0.51 to 0.52

The guy in yellow kurta tries to play a mischievous prank by lifting Ajay’s kurta at 0.52 who reacts by jumping, but as he is rejoicing he gets slapped in a funny way and rotates 360 degrees from 0.52 to 0.53

After pulling up his shirt, he makes some gesture with his hand at 0.52 when Ajay turns around and looks at him, but even after getting slapped he looks upwards with muscular dance step towards the sky at 0.54 due to which Asin breaks onto an astonished smile.

Ajay’s dance step with collar flaunting and chest broadening from 0.59 to 1.03 is RWAKIN from as if to say to Asin that ‘tujhko paake meri chaati aur bhi chori ho gayi hai, my chest has become blouse’ [fun intended].

The dumdaar male chorus at 1.03 is representative of the kasrat of the pehlwaans in the akhaara.

The guy standing on the roof terrace yells to all SHAMIL NA HO from 1.05 to 1.06 in an inviting way as if to imply that why not come and join the party n blast going on n what are you waiting for, and miss out at your own expense!

The fat guy sitting on the elephant and crazily yelling from 1.07 to 1.10 on Shadaab Shabri's off-da-hook fulltu high pitch vocals is hilarious stuff whereby the madness and mayhem crosses all the limits!

The quick 360 hand rotation of the goon in yellow kurta after Ajay hits his hands from 1.12 to 1.13 is hilarious.

The guy wearing yellow kurta is a crazy guy, the way he quickly rotates his hands 360 degrees after pulling up Ajay's shirt along with funny whistle at 0.51 and when Ajay hits his hands at 1.13 is just hilarious.

Cutie Mutie Asin looks around and gives an astonished look at 1.13 jaise ki woh hairaan ho gayi hai, but later breaks into laughter at 1.15 after realizing that Ajay is just-a-joking.

The RWAKIN flying bird dance step with face pointing skywards from 1.19 to 1.23 strike a chord and konnekt big time with the viewers.

The audio visuals in the Pehlwaan’s akhada in slow-mo from 1.37 to 1.59 give a nostalgic feel.

As Ajay finally gets close to Asin n gets a chance to hug her from 2.02 to 2.07 he can’t hide his excitement.

The dancers do their tapori dance steps on the bridge from 2.07 to 2.14

The handicraft movement from 2.14 to 2.16 adds a rustic feel to the backdrop set based in Jaipur.

Ajay shows his SINGHAM style muscle prowess at 2.17

The dumdaar male chorus at 2.21 is representative of the kasrat of the pehlwaan in the akhaara.

From 2.22 to 2.23, the forward leg moments of the guy in red kurta towards the left as he goes berserk in the madness going on jaise ke who khushi ke mare paagal ho gaya hai aur apni sudh budh khogaya hai and the fat guy next to him is also is in full dancing form.

Ajay’s quick upward hand movement on lines PRAN RE from 2.20 to 2.21 is awesome.

Ajay’s and Asin’s sideways hitting of shoulders on off-da-hook quick beat effect from 2.25 to 2.26 is mast, whereby Asin decides to get naughty.

Ajay depicts that whosoever will mess with Singham, he will squeeze his face and make it look like Chingam [fun intended]

The RWAKIN flying bird dance step with face pointing skywards from 2.41 to 2.44 strikes a chord and konnekts big time.

The camera zooms in and catches the cultural heritage of Jaipur i.e. the guys sitting in the mounted horses and sway them sideways from 2.40 to 2.41 & 2.43 to 2.44

When the end credits appear with title Bol Bachchan and everybody is dancing bindaas in ecstasy as Ajay lifts up Asin and takes her away in his lap, it is SIKE GIVING due to the fact that Himesh has given such a stock tune from his top musical drawer for a mega project and a super hit director. Hence, it ensures that full justice will be done with this song and it will get its full due which it rightfully deserves, and will be a rage among the masses who will blow whistles n dance along with it in theatres. 

One of the best aspect about this music video is that Pritviji's goons follow him everywhere in terms of wherever he goes n are attracted to him just like a magnet, n this is a testimony of loyalty e.g. even some pets follow their masters in the house wherever they go, but not out of obligation but their free will, aur yeh wafadaari ka saboot hota hai

The RWAKIN combo of Ajay Devgn, Rohit Shetty n Himesh Reshammiya has created HISTORY.

Jab Se Dekhi Hai

It is a classy composition by HR 2.0 who is in his pre ABA mode i.e. a pre ABA styled song with a sufi-ana andaaz / sufi touch n flavor.

The song begins with Mohit Chauhan’s silky passionate feel vocals in unplugged mode, along with a continuous faint background tune.

The majestic piano piece from 0.22 to 0.28 is joined in by the catchy well structured violin theme piece from 0.28 to 0.39

The laidback rhythmic beats kick in from 0.34 onwards whereby Himesh – the pre ABA composer has kept the orchestration gentle for Mohit’s vocals to dominate the forefront and make the hearing experience a pleasant one.

The whole flow of Mohit’s mukhda vocals has a ‘shaayariana’ andaz to them.

Mohit’s line, ALLAH – AAAA (household profound twist) from 1.10 to 1.12 & 1.15 to 1.17 is similar to HImesh’s line MILNA-AAAA (household profound twist) from 0.23 to 0.25 & 0.28 to 0.29 in TERA MERA MILNA from AKS – THE MOVIE.

Mohit’s BEST mukhda line is JAAN LEGA MERI TERA ISHQ (subtle feel vocals) from 1.19 to 1.24 followed by the violin theme piece from 1.24 to 1.29 which makes the preceding lines more catchy and gives complete melody effect.

Between mukhda & 1st stanza, the prolonged high pitched soulful male croon along with majestic piano flicks from 1.38 to 1.48 are representative as if the hero is standing on the icy Alps with his hands wide open and face pointing towards the sky along with quick rotation wide screen high definition camera angles.

1st stanza

The tune from 1.48 to 2.11 is comprised of simple yet effective repetitive hooks, whereby Mohit’s silky smooth vocals add icing to them.  

Between 1st & 2nd stanza, an interior downtown harmonium piece plays from 2.33 to 2.43 followed by the catchy well structured violin piece from 2.44 to 2.50 which is in full form.

2nd stanza

The tune from 2.50 to 3.12 is comprised of simple yet effective repetitive hooks, whereby Mohit’s silky smooth vocals add icing to them.

Himesh lets Mohit’s silky vocals cast their nasheela suroor in unplugged mode from 3.55 to end with his line YA ALLA-AAAAAH * 2 (prolonged gradual voice deepening).

Highlights of this song:

1. Mohit Chauhan’s passionate feel silky smooth vocals.

2. Underlying pre ABA styled rhythmic laidback beats.

3. Catchy well structured violin theme piece, majestic piano flicks and interior downtown harmonium piece in between 2nd stanza gap.

4. High pitched soulful male croon in between 1st stanza gap.

There is a freshness about this composition which has a refreshing appeal.

Bol Bachchan - Remix

In terms of the visual graphic VFX flash effects which are off-da-hook, this music video reminds of ISHQ KIYA KIYA REMIX from ANTHONY KAUN HAI in terms of those portions where the fast drum roll beats are used. In short, bole toh ek dum 'mast jhakaas' music video hai yeh.

The tempo of the original song has been increased in the remix.

The thumping beat kicks in from 0.36 to 0.50 followed by vibrant breezy bazz sound from 0.50 to 0.58

The beat effect that gradually keeps on accelerating from 0.58 to 1.03, 1.43 to 1.49, 2.27 to 2.31, 3.31 to 3.36 & 4.06 to 4.11 is the build up part, followed by off-da-hook fast drum-roll beats from 1.04 to 1.05, 1.50 to 1.51, 2.32 to 2.34, 3.37 to 3.38 & 4.12 to 4.13 that deliver the kill effect. One can visualize quick flashing visual VFX effects in this portion of its music video.

Profound heavy bazz sound effect from 1.05 to 1.06, 3.30 to 3.31 & 4.45 to 4.46

Catchy intermittent remix tune from 1.20 to 1.43

Off-da-hook SHARP laidback beat skip effect from 2.55 to 3.31 makes the vocals come to the forefront and sound catchy, along with a continuous faint background tune from 3.09 to 3.24

Whilst the original version can be played at family n social fun filled celebratory outings and festive gatherings, the remix version is warranted to do the round of the local clubs.

Chalao Na Naino Se - Remix

The RWAKIN vibrant breezy techno bazz sound makes its presence felt from 0.10 to 0.11

The fast drum-roll beats from 0.46 to 0.50 cause tremendous build up.

The RWAKIN vibrant breezy techno bazz makes its presence felt from 0.52 to 0.53

The BEST part of the remix is Shadab’s HISTORY fulltu high pitched croons SHAMIL NA HO SHAMIL NA HO along with off-da-hook catchy rwakin fluctuating techno bazz sound from 1.15 to 1.22 & 4.23 to 4.29 that makes this portion even catchier than the original version, and gets da listeners into da zone.

Shabri’s line, HO-OO (HISTORY typical unique HR melody note) at 1.21 & 4.28

The fast drum-roll beats from 1.23 to 1.27, 2.31 to 2.34 & 4.31 to 4.34 cause tremendous build up, followed by the heavy dhol hits from 1.28 to 1.29, 2.34 to 2.35 & 4.35 to 4.36 which deliver the instrumental kill effect.

The RWAKIN vibrant breezy techno bazz from 1.54 to 2.00 & 3.19 to 3.32 builds up Shreya’s lines in 1st & 2nd stanza.

The dhol beats just hit it from 4.00 to 4.02

Jab Se Dekhi Hai - Remix

The remix begins with catchy laidback tune until 0.11 which is joined in by a grand sound from 0.11 to 0.12 which causes further build up.

Off-da-hook repetitive beat effect from 0.21 to 0.22 triggers the arrival of the main remix beat.

Off-da-hook underlying beat pattern with a quick skip effect with a fast tempo from 0.23 & 1.32 onwards is SYNCED perfectly with the slow tempo of Mohit’s vocals, which gets the listeners into a rhythmic groove and a fast lane of trance.

Off-da-hook cutting edge hand brake screeching effect from 1.29 to 1.31 & 3.35 to 3.36 is followed by off-da-hook repetitive beat effect from 1.31 to 1.32 & 3.36 to 3.37 that gives the kill effect and causes a rush of adrenaline.  

Off-da-hook wicked bazz sound effect from 0.46 to 0.47 gives halke se kick.

Off-da-hook quick computerized vocal skip echo effect from 0.58 to 0.59

An ambient tune piece plays in the background from 1.10 to 1.29 & 3.30 to 3.33

Mohit's line, JAB SE (off-da-hook singing) at 1.33, 2.37 & 3.39

The electronika remix tune from 1.44 to 2.04 builds jazba and hooks on the listener.

Off-da-hook shooting comet sound from 1.53 to 1.54 is representative of Sci Fi star wars in space.

Stanzas have a laidback loung-ish feel from 2.06 to 2.28 & 3.01 to 3.24

Off-da-hook wicked bazz sound from 2.34 to 2.35 & 3.00 to 3.01 gives halke se kick followed by off-da-hook computerized vocal skip echo effect from 2.36 to 2.37 & 3.01 to 3.02

This remix has been given a new refreshingly unique treatment as opposed to the ‘deja-vu’ run-of-the-mill stuff. In the sense that unlike other remixes whereby the original songs tempo is increased to match up to the remix beat, the original tempo is retained but the fast remix beats tempo is perfectly SYNCED with it. This makes it a rwakin affair, along with some intermittent cutting edge sound effects and computerized vocal skip echo effect.

In terms of the treatment given to it, the remix keeps on alternating in between the fast lane of trance (mukhda) and slow loungish (antaras), so it has a ‘loung-ish trance’ feel.

My Picks - Original

1. Chalao Na Naino Se and Bol Bachchan (tie).

The basis for tie is as follows:

CHALAO NA consists of typical unique HR melody and "instantly hooks onto the listener", whereas the TITLE TRAX is a Himesh Reshammiya masterclass which creates an initial good impression and will "grow upon the listener like hell after each passing repeat hear provided that once they get into its zone". Hence, both songs achieve their same targets "to hook onto the listener", but both use "different ways and routes" to reach there and fulfil their objectives as mentioned.

Chalao Na Naino Se

The USP of this song is that it has very catchy melody with fast tempo and foot tapping rhythm, and hence it instantly hooks on to the listener along with tremendous repeat value hear appeal. Where it also scores is in his traditional authentic lyrics, orchestration and vocals which are all full on Authentic Desi, and hence they are bound to connect with the masses. Yeh gaana interior circuit me dhoom macha dega. When a viewer looks at the colorful eye candy first look posters, the theatrical trailer which promises fun filled masala entertainment, the bindaas tapori sadak chap characters and the backdrop setting of the film which is set in Jaipur, then having such a song is one of the SHAAN of the film because it has all the mix shades of these elements.

This song that is based in a ‘rang birangi’ setting is about celebration of life and living life to the fullest i.e. zindagi mein tension vension kya lene ka, bas sab kuch bhool ke zindagi ki choti choti khushiyaan manao aur nacho gao, masti karo, dhoom dhadaka karo aur dhamaal machao. It portrays the message that life should be colorful and not black n white. Sach me, yeh BAAN ek dum sahi nishaane par laga hai, it has hit the bulls eye. Himesh has hit both a sixer with the melody and rhythm.

Himesh’s starting mukhda lines from 0.37 to 0.44 are off-da-hook catchy. Himesh hits in the traditional desi rhythmic way whereby the underlying beat is capable of making the dead rise from their graves and dance to its rhythmic groove. Himesh’s line, PRAAN RE (HISTORY typical unique HR melody) from 1.05 to 1.06, NAAM RE (HISTORY typical unique HR melody) from 1.42 to 1.43 along with off-da-hook beat effect that delivers the vocal n instrumental KILL effect. The combo of Himesh’s and male chorus lines HUMRA BHOOTON MEIN NAAM RE from 1.45 to 1.47 is catchy. Off-da-hook quick beat skip effect at 1.11 & 1.56, 2nd stanza is better than 1st stanza both in terms of vocals and lyrics, whereby Himesh’s line, ZINDAGI CHAAR DIN KI MERE HUMSAFAR from 3.52 to 3.53 konnekts with the listener. Shadaab Shabri goes all out with his lines, SHAMIL NA HO * 4 (OFF-DA-HOOK fulltu high pitched) from 1.30 to 1.37 & 4.37 to 4.44, with emphasis on his line, HOO-OOO (HISTORY typical unique HR melody) from 1.35 to 1.36 & 4.42 to 4.43, Shreya’s melodious vocals that are representative of the 'shy gaon ki chori' compliment Himesh very well. Outstanding innovative Hin-glish lyrics HUMRI BODY SE PRAAN SE and innovative refreshing lyrics HUMRA BHOOTON MEIN NAAM RE will konnekt big time with listeners, hats off to the lyricist Shabbir Ahmed.

In its music video, the best orchestration is when the mast kickass beat suddenly kicks in from 0.40 to 0.45 after the build up, and the camera zooms in with a sideways rotational angle to capture Ajay doing the rwaking dance step along with his goons. Sike giving stuff! In the theaters, the starting unplugged part received whistles just as it begins whereby Ajay holds his heart with his hand and lip sings to Himesh's unplugged line, CHALAO NA NAINO SE BAAN RE, JAAN LELO NA JAAN RE * 2, since it created an emotional konnekt between aam junta and the softer inner romantic side of the otherwise tough Prithviji.

From the perspective of haters, critics n detractors of his nazal singing, the biggest plus point of this song is that Himesh's restrained non nazal voice has been liked, appreciated and gone down well with them. Atleast they aren't taking digs n pot shots as far as his 'singing' is concerned in this song. This song leaves the best impression on everybody (fans, haters, non haters, critics etc) as far as Himesh's singing is concerned in 2012.So it is an achievement as he has done a lot of damage control and reversal by winning over some of that target segment and changing their perception towards him.

Best part of Himesh's singing is the unplugged part and the build up from start to 0.46, after which the mast jhakass beats kick in, and also his mukhda line, KAHIN NIKAL NA JAAYE (catchy emphasis twist) from 0.59 to 1.00, His mukhda line, HUMRA BHOOTON MEIN NAAM RE also appeals.

This is Himesh's most popular n most heard song amongst audience n listener segment to date in his 'other' non nazal voice.

Bol Bachchan

Rohit Shetty put it during the making of this song that “Big B is god of acting and it is every director’s dream to work with him at least once in a lifetime” and the same statement applies to composers too. Having said this, there couldn’t have been a better way for Himesh to have been associated with for first time with his idol Big B, considering that the film pays homage to the Bachchans in a way as the title trax is based on their surname.

It is a unique ‘feel good fun filled’ desi authentic song in the celebration/dance genre with a happy-go-lucky mood as if ‘life is just good’ aur life mein tension vension nahi lena ka but it has to be celebrated and enjoyed with fulltu entertainment.  It is an interesting hear that will uplift the listener’s spirits n brighten up their mood.

Himesh was working with 3 limitations in this song i.e. composing a mukhda around an awkward title tag line ‘Bol Bachchan’, integrating dialogue interludes in between the song and asking 3 singers who could be termed as ‘fairly untrained non professional/non regular’ playback singers. But he has pulled off a feat and done exceedingly well with regards to all 3 aspects. Firstly, by giving them a simple, well structured and catchy tune in the sense that he has taken care of not giving any complex prolonged twists n turns representative of his typical Sufi Rwak antics, and ensured that all 3 can sing their respective simple well structured lines with comfort and ease and in their suitable appropriate pitch ranges, whilst at the same time being effectively catchy. Secondly, by forming a catchy repetitive hook on the title tag lines Bol Bachchan which requires some serious skill n musical sensibility to structure a tune around such lyrics and thirdly, by appropriately slotting the dialogues at start, end and in between stanza gaps whilst maintaining the flow of the song without breaking it.

Catchy string flicks along with fluctuating synth bazz tune from 1.01 to 1.04 that brightens up and uplifts the mood, followed by off-da-hook catchy grand fanfare trumpet tune from 1.05 to 1.12 slowly but surely gets the listener into da zone. The male build up vocals, BOL BOL BOL BOL BOL (OFF-DA-HOOK catchy repetitive hook) from 1.13 to 1.19, 2.09 to 2.14 & 3.02 to 3.08 that give JAZBA along with peppy finger snaps get the listeners swaying into da rhythm’s groove. BEST melody of mukhda is Big B's lines, BOL BACHCHAN from 1.22 to 1.23, 2.17 to 2.18 & 3.10 to 3.11, and Big B's HISTORY catchy mukhda line, BOL BOL BOL BACHCHAN...SUN SUN BOLE KYA BACHCHAN from 1.23 to 1.40, 2.18 to 2.26 & 3.10 to 3.19 & 5.45 to 5.49 which is simple and well structured i.e. with emphasis on lines BOL BACHCHAN (HISTORY catchy higher note) at 1.37, 2.24, 3.17 & 5.46, BOLE KYA BACHCHAN (HISTORY catchy lower note) at 1.40, 2.26, 3.19 & 5.49, The line, BACH-CHAN at 1.24, 1.29, 1.33, 1.37, 3.12 & 3.17  has typical unique HR melody note. Rwakin underlying fluctuating synth bazz sound from 1.43 to 1.48, Off-da-hook raw SHARP drum skips from 2.00 to 2.04 & 2.26 to 2.30 get the listener’s foot tapping.  Big B’s line, DIN ME BHI DI (off-da-hook feel good vocals) KHADE from 2.05 to 2.06, Off-da-hook fast drum-roll hits from 2.06 to 2.07 give kick followed by profound bazz sound from 2.08 to 2.09 that gives halke se kick. The female nazal vocals from 2.30 to 2.47 have an old-age touch. Vineet’s high pitched computerized alaap with prolonged twists n turns PENDULUM from 2.48 to 2.58 in his sharp vocals has a strong ‘South Indian aaiyo swami’ feel to it. Between mukhda & 1st stanza, the quick South Indian styled raw drum hits catch the listeners classical pulse from 3.21 to 3.32 are joined in by the Interior banarasi babu harmonium tune from 3.26 onwards, followed by the catchy string riffs and the underlying rwaking fluctuating synth bazz from 3.32 to 3.39 that brightens up and uplifts the mood. Big B’s lines followed by Ajay and Abhishek’s lines, JHOL JHAAL KE PANGHAT PE BEHTI HAI JHOOT KI NADHIYA WAHAAN SE SEEDHE HAAT PE HAI CHAL KAPAT KI DAGARIYA from 3.56 to 4.13 is the BEST MELODY of the song. Big B’s line, TERA BHARGA (off-da-hook feel good vocals) YA GHARA from 4.19 to 4.20

Big B not only rwaks as an actor, but also as a singer. Bol Bachchan Title Trax RWAK coz of Big B. Even at that age, he goes fulltu high pitch on the catchy repetitive hook BOL * 5 which is sung with amazing energy, zeal n vigor (in contrast to Junior B n Ajay's vocals who croon same lines at lower octave range with bazz vocals). Not to mention his gradual vocal deepening effect in lines BOL BOL BOL BACHCHAN, SUN SUN BOLE KYA BACHCHAN whereby he starts off with sooth feel vocals n ends with heavy authoritative wazandaar vocals. Best part is that this song would be played countless times in the Bachchan household, coz its a tribute to their surname, but where Himesh scores is this facet is that ultimately the tune is his. 

Best orchestration in song is the grand fanfare trumpet from 1.05 to 1.13 which makes the listener feel as if life is just good, especially off-da-hook catchy hooting of funky horn from 1.12 to 1.13

2. Jab Se Dekhi Hai

It is a pre ABA styled song with a sufi-ana andaaz / sufi touch n flavor. It is amazing to see that with what ease Himesh has turned this ‘simple yet effective’ uncomplicated tune into a ‘classy affair’ with minimal of fuss whatsoever, by adding gentle laidback rhythmic orchestration along with free flowing silky vocals, thus making it a pleasant hear that one would never mind hearing. Hence it grows upon the listener with each passing repeat hear. This song has a universal appeal and it will be liked by one and all, including his haters and hence changing their perception towards his music.

The underlying beats are laidback rhythmic whereby Himesh – the composer has kept the orchestration gentle for Mohit Chauhan’s vocals to dominate the forefront and make the hearing experience a pleasant one. Mohit sings with passionate feel silky smooth vocals, with emphasis on his BEST line, JAAN LEGA MERI TERA ISHQ (subtle feel vocals) from 1.19 to 1.24 followed by the violin theme piece from 1.24 to 1.29 which makes the preceding lines catchier and gives complete melody effect. The high pitched soulful male croon along with majestic piano flicks from 1.38 to 1.48 in between 1st stanza gap are representative as if the hero is standing on the icy Alps with his hands wide open and face pointing towards the sky along with quick rotation wide screen high definition camera angles.

In terms of the tune, vocals n orchestration, the Title trax has been given a ‘catchy’ treatment whereby Jab Se Teri has been given a ‘classy’ treatment. Title Trax is a simple well structured tune with catchy hooks whereas Jab Se Dekhi Hai gradually grows upon the listener with each passing repeat hear. So it is a case of non-regular playback singers crooning a catchier tune with catchier orchestration that hooks on once the listener enters its zone as opposed to a veteran pro playback singer singing a classy tune with classy orchestration which needs time to grow.

Opinion of why Jab Se Dekhi didn't feature in the actual film:

Certain segment of Himesh fans wouldn't have been so pleased not to see Jab Se Dekhi Hai in the film.

While Jab Se Dekhi Hai is a 'decently average' song but due to its slow paced nature n Sufiana touch, it is tailor made for a Bhatts-Emraan Hashmi film, and not a fast moving film like Bol Bachchan. One of the key things of a comedy is to 'continuously engage the interest of viewers n not let it slacken or drop', but if Jab Se Dekhi Hai could have arrived instead of fast paced energetic Nachle, then proceedings could have slowed down drastically. So while Jab Se is a great song, it was a misfit in Bol Bachchan film coz of the song's n film's contrasting genre. Thats why Rohit Shetty had made it clear in interview that 1 track is in CD to further boost the audio sales, and even at last minute he included 2 Himesh songs, instead of only the promotional title trax as initially thought. So this was an understanding between director/makers n music company/composers, and so they can't really be blamed for not including it in the film because it was pre-agreed well before in advance, and Himesh must be knowing that his 3rd song wont be included in film, so he composed a great song regardless of worrying about its genre. Or else he could have never ever composed such a slow paced song if it was actually meant to be used in such a fast paced film, coz one of Himesh's strength is that he always scores n delivers music according to director's requirements. 

If Jab Se Dekhi Hai would be picturized on an estranged Emraan Hashmi walking with attitude with hands in his pockets near mountainous terrains with occasional hands pointing skywards during sunset n multiple rotation camera angles (especially during Aman's alaap in 1st stanza gap), and it could appear in a Bhatts film like just after a situational sequence when he would fall in love but cannot obtain his love easily due to the mess in his profession e.g. drugs, firearms, gangster etc related theme, then it could have max on screen impact.

So despite this song not featuring in the actual film, still two positives can be taken from it. Himesh worked with a new singer Mohit and it was kind of an extra song in an album, or else there could have just been 3 songs n their remixes i.e. Title Trax, Chalao Na n Nach Le. So in a nutshell, this song is like a bonus song, whereby getting to hear an extra Himesh song is better than getting to hear no Himesh song (in any case).

My Picks - Remix

By ranking the remixes, credit is being given to the work of DJs (and not the composition of the tune):

All remixes are rwakin and achieve their respective motives in their own different unique ways.

1. Jab Se Dekhi Hai Remix - Teenu Arora

Ideally, it is Jab Se Dekhi Hai remix that is the ‘best remix of the lot’ as it is a classy mix of high standards with cutting edge new age sounds whereby the DJ seriously knows what he is doing with its sound. It outclasses Chalao Na remix in terms of the unique innovation, overall treatment given, and the quality of mixing. Another aspect in which Jab Se remix scores over Chalao Na Remix, is that the additional remix beats in Chalao Na build upon the original existing orchestration but in Jab Se remix  the original orchestration is totally scrapped out and the DJ does completely his own thing, and succeeds with flying colors.

2. Chalao Na Naino Se Remix - DJ Sheizwood

http://www.youtube.com/watch?gl=US&hl=en&client=mv-google&v=yRjmqQRt-2k

The USP of Chalao Na Remix is the ‘rwakin’ fluctuating bazz sound that makes the typical unique HR melody lines SHAMIL NA HO * 4 catchy like hell and lift them to a whole new level (history) by getting da listener into da zone, and the rwakin vibrant bazz sound after the PRAN RE. All in all, its remix aims to make the original rhythm even more rwakin.  

3. Bol Bachchan Remix - DJ A.Sen and DJ Amann Nagpal

The beat effect that gradually keeps on accelerating from 0.58 to 1.03, 1.43 to 1.49, 2.27 to 2.31, 3.31 to 3.36 & 4.06 to 4.11 is the build up part, followed by off-da-hook fast drum-roll beats from 1.04 to 1.05, 1.50 to 1.51, 2.32 to 2.34, 3.37 to 3.38 & 4.12 to 4.13 that deliver the kill effect. One can visualize quick flashing visual VFX effects in this portion of its music video. Off-da-hook SHARP laidback beat skip effect from 2.55 to 3.31 makes the vocals come to the forefront and sound catchy, along with a continuous faint background tune from 3.09 to 3.24

Verdict

Bol Bachchan has one promotional track (i.e. promoting the film’s title tag line) Bol Bachchan title trax, one mass track (i.e. catering to the masses and composed keeping the mass segment in mind) Chalao Na Naino Se and one class track (i.e. catering to the classes and composed keeping the class segment in mind) Jab Se Dekhi Hai which further enhances the audio appeal of the album and adds variety to it.

Where Himesh has struck hard and right is the ‘genre’ of the songs i.e. he has gone completely the ‘Desi Indian Authentic’ way whereby he has done perfect justice to the backdrop setting of the project. Some people suggest that the promotional title trax should have been on the lines of Hip Hop or Punjabi. But Hip Hop doesn’t go well with the situational mood of the film plus only Abhishek has prior hip hop rap experience, and this genre is very specialized whereby vocals can also sound ‘despo wannabee’ if gone ‘overboard’. Also the film doesn’t really have any Punjabi elements because it is actually based in Jaipur whereby Bhangra dance steps could not have suited on the tapori goon protagonists who required a Desi tune to do all those mast bindaas jhakaas dance steps. Therefore, with respect to the genre of songs Himesh is bang on right on the money, struck the bull’s eye (bingo) and hit the nail on the head.

The album offers a lot of ‘freshness’ as Himesh has churned out tunes in untapped genres along with new orchestration and new vocals i.e. he has done very few Authentic Desi songs like the title trax, very few tapori festive celebration songs like Chalao Na Naino Se whereby the most notable one coming to mind is GOLI MAARE TERA DUPATA from KYON KI which was a similar bindaas masti filled madness number. The orchestration in these two songs is a new attempt. Also, the lyrics of both songs have something new in the offering as title trax has ‘shud Hindi’ lyrics which compel the listener to think n interpret and Chalao Na Naino Se has ‘innovative Hin-glish’ lyrics like Hamri Body Se Praan Re. In terms of the overall feel n ambience, both these songs have their heart in the right place and do full justice to their music videos. Himesh has never ever previously worked with Mohit Chauhan before. Also, the orchestration and compositional sensibilities in Jab Se Dekhi Hai is representative of Himesh – the pre ABA composer which is a good thing.

High points as a composer and singer:

> At times many composers make complex melodies with lot of variations in notes in order to make them catchy. But composers who can find simple catchy tunes ought to be admired and respected coz its actually a difficult thing to do i.e. finding really catchy melody from the most simple n fewer notes, lets say to compose a catchy tune by using a range of 3 keys on a keyboard. For example, NAINA RE n AAP KI KASHISH are quite COMPLEX melodies, but BOL BACHCHAN TITLE TRAX is a simple melody and the tune of its mukhda lines, BOL BOL BOL BACHCHAN...SUN SUN BOLE KYA BACHCHAN uses only 3 key notes. For a composer to find such HISTORY catchy melody in that key range is par excellence.

> Himesh shows his versatility both as a composer and singer in CHALAO NA NAINO SE i.e. this is the same person who composed n sung a typical Sufi Rwak number like ABA Title Trax, and here he has composed and sung in total Desi Authentic mode which is a 360 contrast in terms of genres.

> By broadening his horizons and keeping his options open in terms of the male playback singers and willing to work with other singers who have never previously featured in his songs, and avoiding /breaking the typical stereotype choice, which adds a new dimension of freshness in his songs rather than predictable stuff. Mohit Chauhan is associated with class and is liked by lots and lots of listeners including Himesh haters, so roping him in JAB SE DEKHI HAI increases the universal appeal of this song.

> Himesh has used catchy foot tapping rhythmic orchestration with a mix of Desi Authentic and South Indian flavor in BOL BACHCHAN.

> By showing promise in upcoming new talent by giving another opportunity to Shadaab Shabri who repays the faith by delivering a punch with his fulltu high pitched vocals in CHALAO NA NAINO SE.

Best Vocals / Lines:

> Himesh’s line, PRAAN RE (HISTORY typical unique HR melody) from 1.05 to 1.06, NAAM RE (HISTORY typical unique HR melody) from 1.42 to 1.43 along with off-da-hook beat effect that delivers the vocal n instrumental KILL effect in CHALAO NA NAINO SE.

> Big B's HISTORY catchy mukhda line, BOL BOL BOL BACHCHAN...SUN SUN BOLE KYA BACHCHAN from 5.45 to 5.49 which is simple and well structured i.e. with emphasis on lines BOL BACHCHAN (HISTORY catchy higher note) at 5.46, BOLE KYA BACHCHAN (HISTORY catchy lower note) at 5.49 in TITLE TRAX.

> Shadaab Shabri’s lines, SHAMIL NA HO * 4 (OFF-DA-HOOK fulltu high pitched) from 1.30 to 1.37 & 4.37 to 4.44, with emphasis on his line HOO-OOO (HISTORY typical unique HR melody) from 1.35 to 1.36 & 4.42 to 4.43 in CHALAO NA NAINO SE.

> Himesh’s line, ZINDAGI CHAAR DIN KI MERE HUMSAFAR from 3.52 to 3.53 that konnekts in CHALAO NA NAINO SE.

> Big B’s lines followed by Ajay and Abhishek’s lines, JHOL JHAAL KE PANGHAT PE BEHTI HAI JHOOT KI NADHIYA WAHAAN SE SEEDHE HAAT PE HAI CHAL KAPAT KI DAGARIYA from 3.56 to 4.13 in TITLE TRAX.

> Big B’s mukhda lines, BOL BACHCHAN from 1.22 to 1.23, 2.17 to 2.18 & 3.10 to 3.11 in TITLE TRAX.

> Mohit Chauhan’s lines, JAAN LEGA MERI TERA ISHQ (subtle feel vocals) from 1.19 to 1.24 in JAB SE DEKHI HAI.

Any Negatives?

None really, this is a totally win-win situation for Himesh fans from all possible imaginable angles. The only negative perhaps is that Mohit Chauhan's song Jab Se Dekhi Hai will not be promoted as a music video and thus will not feature in the the movie. A classy song like this deserved to be promoted.

Conclusion  

A by product of this album is that Himesh will now seldom be teased in Comedy Circus for his nazal singing tone, since Archna Puran Singh, Krushna and even Rohit Shetty are a household name there, and so any project featuring them is bound to become a household product of Comedy Circus too.

‘Jaipur mein set laga hai, Bol Bachchan ki shooting chal rahi hai aur Krishna ne bhaut acha kaam kiya hai’, having heard this phrase repeatedly again in again in Comedy Circus, one of the last things that a viewer would have anticipated is that Himesh could be a part of this project. Having said that, it is a total unexpected surprise because Himesh was nowhere in the frame and scheme of things to actually score for this film and he was roped in at the very last minute just in the nick of time before the shooting schedule wrapped up. What was even more pleasant to discover is that not only did he score for the promotional title trax, but he had actually 3 songs and to top off the icing on the cake, he had also sung one of them. This is frankly too good a deal for Himesh fans to come their way given the earlier scenario, just like a bonus as per the famous dialogue in Malamaal Weekly ‘ke joh bhi mil raha who munaafa hi toh hai’ and on this count the songs should be enjoyed and celebrated.  In addition, Himesh also got associated with such a big project with super hit director Rohit Shetty and veteran superstar Ajay Devgn.

Himesh has ‘killed 3 birds with 1 stone’ in the sense that after a very long gap after films like Zameen (2003) and Main Aisa Hi Hoon (2005), he formed an association with one of the top A league actors Ajay Devgn. After a hiatus of almost a decade ago after Zameen (2003), he has scored again for a project of one of the most highly bankable and sought after director Rohit Shetty who has delivered back to back super hits in his recent outings. He has finally got an opportunity to work with his idol Big B as he said “har koi apni field ka Amitabh Bachchan hi banna chahta hai, isme kisi koh bhi koi shaq nahi hai’ and also dedicated the song to him which he sung live when he received his best male playback award on stage.

On this count, the credit for such a scenario to have taken place goes to Ajay Devgn who first praised Himesh’s songs in Bodyguard by tweeting that they are fantastic and heading on their way to becoming chartbusters, and then later roped Himesh for his ambitious dream project Son Of Sardar and upon liking his songs also recommended him to Rohit Shetty as he was also the co-producer of Bol Bachchan. Therefore, Ajay Devgn is the ‘brainchild’ behind all this materialized development and he RWAKS. Hope that Himesh repays this gesture by also rwaking it in SON OF SARDAR and here is hoping that Himesh will be roped in for future Rohit Shetty films as well to continue and take forward this association. Rohit Shetty commands respect because his past films have been super hits despite getting thrashed by some critics and music has generally been weak in them (except the racy Golmaal theme), but this time he has some serious music back up in the form of Himesh Reshammiya and therefore the songs are an added USP of the film.

Therefore when the film releases and packed audiences will see the opening credits with Bol Bachchan title trax, it will be sike giving. As the film progresses and the chemistry between Ajay n Asin will slowly develop and Chalao Na Naino Se will arrive, audience are ought to clap, hoot, blow whistles and get tempted to dance along with it, especially in the single screen mass dominated theaters in interior circuits of UP, Bihar, Bhojpur etc. Therefore, Himesh's songs will gain further popularity and get their full due n justice which they rightfully deserve.