Music review analysis of Himesh-Salman jodi's comeback album Bodyguard (2011).
Title Trax
This is Himesh's most FAADU song till date and has the most CULT starting intro n build up ever in a Himesh Reshammiya song.
Himesh ropes in his claila Vineet to begin the song with tapori ishtyle vocals from start to 0.08 that are used as a promotional prop.
The rugged raw beat pattern from 0.08 to 0.10 gives a feel as if it is heard in an old style ‘dada ke purane zamane ka sasta tikau’ transistor.
Da real deal begins from 0.11 onwards.
OFF-DA-HOOK wicked vibrant funky guitar riffs from 0.11 to 0.13 & 0.16 to 0.18 BUILD UP SIKE, along with intermittent quick fluctuating bazz sound from 0.14 to 0.15 and Arya’s feel good rap vocals with no mess attitude.
OFF-DA-HOOK laidback heavy rhythmic hit pattern from 0.19 onwards in da backdrop that was similarly used as underlying beat in MILENGE MILENGE VERSION 1 from MILENGE MILENGE RE-ARRANGED (which had a faster tempo, but here its tempo is decreased significantly and fine tuned / calibrated to da point that it becomes RWAKIN) signifies da grand entry of da superstar and GETS DA LISTENERS INTO DA ZONE TO FEEL IT BIG TIME.
Sallu Mia’s catchy one liner in an authoritative voice from 0.20 to 0.24 connects instantly with da masses.
Da energetic band of boys male vocals FEEL DA HEAT FEEL DA BEAT FEEL DA POWER from 0.25 to 0.37 ‘nail it down to da T’ in terms of ENHANCING DA SIKE and cause a RUSH OF ADRENALINE FLOW (sun ne wale ke zehen mein josh bhar dete hain).
Ayra’s rap vocals BODYGUARD from 0.13 to 0.14, 0.18 to 0.19, 0.40 to 0.41 & 0.43 to 0.44 have a no mess attitude vibe to them.
The SYNC between off-da-hook wicked vibrant funky guitar riffs and off-da-hook profound heavy laidback rhythmic dhol hit pattern from 0.38 to 0.44 along with Arya’s rap that gives completeness is commendable.
In essence, da starting build up up to this point thus far is da BEST part in this song and it makes an impact in da 1st theatrical trailer from 1.32 to 0.49 when Sallu mia combats da goons.
Just about when da listener is totally geared n siked up, a heavy hit thump effect in unplugged mode followed by a start-stop gap from 0.44 to 0.45 keeps them guessing as to what next would unfold.
From 0.45 onwards, da song takes about a sudden contrasting U – turn to change course on extreme ends.
Da mast jhakaas peppy rhythmic beat with a Southern styled pattern along with a synthetic funky tune piece with comic element (especially in da promo from 1.36 to 1.37, when Sallu mia is riding a rikshaw cart with passengers behind and it breaks into a gate to break it open is quite hilarious) and intermittent whistles from 0.46 to 0.51 are tailor made for da masses and their impact is such that front benchers who without realizing subconsciously would wake up from their seats and sway away in ecstasy in single screen theaters when its audio visuals are played.
From 0.52 onwards, rhythm takes precedence over melody (which is rather kept simple yet effective) whereby the energetic high-pitched vocals of band of boys along with underlying quick foot-tapping orchestration are an invitation to get out on da streets with lungis and dhotis to celebrate a festive season and sway / dance away in ecstasy.
The simple lyrics are all about to showcase da prowess of protagonist and connect him with his audience.
The line, BODY – GUARD (higher note) from 0.56 to 0.57, 1.03 to 1.04, 1.09 to 1.10 & 1.16 to 1.17 (that was similar to note HAI – AI (higher note) from 4.24 to 4.25 in AHISTA AHISTA TITLE TRAX) is most effective in context of overall lines in between 0.52 to 1.16. If himesh going to come up with such notes, then da listener will be forced to imagine him with his latest trendy look with super kool shades and smile towards him and ask “Himeshji, kya hai?” [fun-intended].
Once again, a heavy hit thump effect in unplugged mode followed by a start-stop gap from 1.16 to 1.17 is of great intermittent cause.
Da pronunciation of lines PHEEL DA HEAT PHEEL DA KICK PHEEL DA POWE-RRR (quick emphasis) from 1.31 to 1.36 is typically representative lingo of a wannabee tapori.
Da middle-octave lines from 2.02 to 2.21 along with off-da-hook wicked vibrant funky guitar riffs gives da completeness effect to da preceding build up lines from 0.52 to 2.02 whereby da listeners come to terms with da ‘full graph’ of da ‘overall completeness’ of da tune.
The BEST male vocal lines are AAYA RE AAYA BODYGUARD (catchy impact) from 2.07 to 2.09 & 2.17 to 2.18 that get da listener into da zone and give HELL LOT OF SIKE / JAZBA.
Off-da-hook laidback heavy rhythmic dhol hit pattern is back from 2.28 onwards along with subtle faint female croons to shift back da tempo from ‘fast peppy’ rhythmic to ‘slow laidback’ rhythmic.
The feel good funky guitar plays from 2.36 to 2.40 & 2.52 to 3.00
Once again da tempo picks up from 2.59 onwards with whereby proceedings become jovial again and da pulse of da listeners is played with here.
The female feel good vocals join in from 3.16 to 3.17, 3.20 to 3.21 & 3.27 to 3.29
Da song finishes with a powerful statement in form of Arya’s rap vocals BODYGUARD (emphasis) from 3.30 to 3.31 are crooned with a purpose and cause as if to signify da threat of da protagonist to his opponents to back off coz bodyguard is in da house to take care of things.
The heavy thump hit at 3.31 makes an impact, after which da song ends with feel good funky guitar with echo effect in unplugged mode.
Highlights of this song:
1. Salman’s catchy one liner in an authoritative voice, Band of Boys energetic vibrant vocals and Ayra Acharya’s emphasis rap vocals with no mess attitude factor.
2. Off-da-hook wicked vibrant funky guitar riffs and off-da-hook laidback profound heavy rhythmic dhol hit pattern, quick fluctuating bazz sound, feel good funky guitar and peppy intermittent whistles.
3. Mast jhakaas peppy rhythmic beat with a Southern styled pattern along with a synthetic funky tune piece with comic element.
4. Heavy hit thump effect in unplugged mode followed by a start-stop gap (especially at end).
5. From 0.11 to 0.45 is best part of song.
To sum up, it is a mast bindaas tapori ishtyled number specifically tailor-made for Sallu’s mass appeal in terms of single screen followers for them to ‘jhoom barabar jhoom’. This is not da kind of song that listeners associate themselves with Himesh brand of music.
It is a see-saw zig-zag roller coaster ride that alternates in tempo and plays with listener’s pulse in terms of switching between ultimate sike giving stuff (rwaking slow laidback rhythmic) and jovial ecstatic stuff (foot tapping fast peppy rhythmic).
This is power packed stuff with a cult feel status, and it is thrilling to see himesh play around with sound like this.
{Title Trax - Duet}
Off-da-hook wicked funky guitar riffs from start to 0.01 mark Sallu mia's 'dhansu' entry.
Arya's emphasis vocals BODYGUARD from 0.02 to 0.03 along with Salman's slow-motion camera rotational view close-up in dark shades STRIKES A CHORD.
The peppy rhythmic southern-styled part from 0.10 to 0.47 is tailor made for Sallu's typical antics.
The male chorus is not really melodious but they serve the purpose in terms of all male props going gung-ho in all praise of the protagonist in terms of audio-visuals.
The slow heavy rhythmic part from 0.48 to 0.54 allows Kat to show off her latkas, jhatkas and thumkas.
The female vocals from 0.54 to 1.17 make the song MELODIOUS and her lines are the best part of this song promo in terms of vocals and elevate the song to a higher level in totality.
In terms of audio-visuals, the BEST part are female vocals lines BAS TUMHARA THA INTEZAAR and male band of power CATCHY vocals AAYA RE AAYA BODYGUARD along with da rwakin dance from 1.13 to 1.21 that MAKE AN IMPACT, get da listener/viewer into da zone and give HELL LOT OF SIKE / JAZBA.
Arya's emphasis vocals BODYGUARD from 1.28 to 1.38 along with Salman's slow-motion camera rotational view close-up in dark shades STRIKES A CHORD.
In a nutshell, while this is not the typical Himesh stuff, he has given a USP which is the THEME PIECE in essence which covers up all aspects in terms of:
> The slow rhythmic laidback part that is used for grand larger than life entry/intro of Salman - the protagonist (as bodyguard) and for Kat to to her thing.
> The peppy southern-styled rhythmic part that is custom made for Sallu mia to show his bindassgiri.
> Arya's vocals BODYGUARD that depict Salman's no-mess attitude and that he is in da house to take of things/business in his Wanted/Dabangg style.
Himesh Reshammiya has scored for countless Salman Khan starrers, but if there is an ultimate song that gives max JAZBA / SIKE from their jodi combo songs, then it is this song which is the BEST song of the album.
The parts that give the most sike are:
> the starting part of Salman's grand intro entry until 0.21
> the part where Salman's close ups are shown with slow motion rotational camera angles in his Bodyguard suit and shades.
> the lines THA BAS TUMHARA INTEZAAR, AAYA RE AAYA BODYGUARD * 2 along with off-da-hook funky synth guitar riffs from 2.07 to 2.26 along with the rwakin dance step, which drives the viewers ecstatic n gives them full on josh.
How Sallu mia kicks one audience spectator from 2.53 to 2.54 with the sound effect and he flies back into the crowd is hilarious, and in the end when he is alone in the auditorium from 3.02 onwards with the camera zooming in to catch his full focus and making him the center of attention strikes a chord.
Teri Meri Prem Kahani
After Ishq Ki Gali (Milenge Milenge) and Main Jahaan Rahu (Namastey London), Rahet Fateh Ali Khan completes his hat-trick association of songs with Himesh in this number.
This 'Love Anthem' begins with a new age grand trumpet tune from start to 0.16 in unplugged mode, this instrument (not da tune) was used from 4.24 to 4.34 in YEH HARE KAANCH KI CHURIYAAN from MILENGE MILENGE, from 0.49 to 1.08 & 3.31 to 3.40 in DIL SE JUDA EHSAAS - MALE VERSION from TAARZAN, and from 0.05 to 0.24 in AISA DEEWANA from DIL MAANGE MORE.
The underlying laidback beat has a nostalgic serene feel to it (just as was the case with underlying beat from 0.26 to 1.16 in TERI MERI DOSTI KA AASMAAN from RADIO in terms of overall setting).
It Is comprised of 3 elements i.e. sharp hit pattern after every alternate second, in between which is an underlying thump effect pattern (that was similarly used from 1.07 onwards in TUM SAANSON MEIN from HUMKO DEEWANA KAR GAYE), and joined in with quick 1 bit Waltz hit pattern from 0.31 onwards that enhances the free flowing nature of this song.
The stamp of Himesh – the sufi rwak composer is evident as he comes up with yet another catchy well-structured prolonged vocal alaap theme piece (a common trait in his sufi rwak songs) which is USP of song. This one is by far his longest one in terms of length duration and one of his best and to compose such complex interconnecting linked ‘sudden abrupt prolonged twists-n-turns’ with each other to form an overall ‘complete melodious effect’ is really commendable.
Rahat Fateh Ali khan belts out soulful croons from 0.17 to 0.30 that connect big time, strike a chord with da listeners and make them give in to it.
The sad bazz raga tune from 1.15 to 1.23 was similarly used from 2.05 to 2.19 in PIYA JAISE LADOO from RADIO and from 1.11 to 1.13 & 1.19 to 1.21 (only instrument) from TERA SUROOR from AAP KA SUROOR.
The quick repetitive key flicks at varying notes were used for similar purpose (not da actual tune but their quick repetitive nature) from 2.53 to 3.08 in JAB KABHI from 36 CHINA TOWN to depict a sense of urgency (jaise ke kisi ka saath choota ja raha hai).
Shreya croons her lines with refreshing mystic feel vocals from 0.31 to 1.00 as if da song was shot on moon (chand taro ke darmiyaan).
The main melody impact comes from Rahat’s high pitched vocals from 1.01 to 1.14 & 1.23 to 1.37, with emphasis on TERI MERI MERI TERI (terrific fulltu).
The composition notes of lines, DO LAFZO MEIN ME YEH (3 step rising pattern by 2 notes) BAYAAN NA HO PAAYE (4 step descending pattern by 1 note, give completeness effect) are well structured, just like forming an ‘inverted U/V’ in terms of their overall graph.
Rahat’s vocal theme piece alaap from 1.38 to 1.52 that fluctuates rapidly like a fast changing stock market is his BEST vocal alaap from his other similar alaaps in this song, for the following 3 KEY REASONS i.e. the HISTORY quick up feel twist from 1.41 to 1.43 followed by HISTORY sharp 2 note descent from 1.44 to 1.46 and HISTORY up intense emphasis twist that gives jazba from 1.48 to 1.50 (which was similar to line HAIYA (up intense emphasis twist) from 1.30 to 1.36 in TAHNAIYAAN from AKS-THE MOVIEE) that simply blow away da listeners and win over them. If himesh sang this part live, it would be wonderful to observe da flow of his hand moments.
Indeed, himesh has created some STEEP melody notes here that after Himesh – the singer, it was Rahat who could have done justice to them.
Between mukhda & 1st stanza, the new age grand trumpet tune plays from 1.52 to 2.06
1st stanza
The white noise in da background due to sound modulation in unplugged mode has a thunderous resonance (goonj) that gives ambient feel of being in an underwater cave in an unexplored mysterious planet.
Throughout da stanza, da subtle likeable intermittent piano keys give a pleasant vibe.
The cutting whoosh effect comprised of a 2 lighter set (build up) from 3.55 to 3.57 followed by 1 heavier hit (kill effect) at 3.58 gives a grandeur effect, just hear it roll to get da stanza underway! Such whoosh/hit effect was used at same stanza part from 2.21 to 2.23 & 3.45 to 3.47 in JUNOON from ROCKY – THE REBEL.
Rahat, a master of high pitched vocal alaaps, lowers his pitch to croon some middle octave subtle feel croons on well structured composition notes i.e. LAGAAYA (normal note) from 2.08 to 2.09, PAAYA (higher note) from 2.21 to 2.13, YEEE (normal note) from 2.16 to 2.17, SAAYA (higher note) from 2.19 to 2.21
He shifts back to his usual range from 2.22 to 2.28 and croons on a high pitched repetitive composition pattern, whereby da listeners find themselves urged on to join his cause on behalf of da protagonist.
Himesh – the sufi rwak composer is at work here and it is commendable how he joins Rahat’s high-pitched lines from 2.22 to 2.28 to the vocal theme piece alaap from 2.28 to 2.38 at the same note at 2.38, a trait which he used to similar effect in da stanzas from WHO LAMHA from KAJRAARE in terms of prolonged ‘extended’ twists-n-turns.
Shreya’s minty vocals from 2.37 to 2.56 gives an imaginary feel that da lovers are somewhere in da icy mountains of Arctic or Da Alps in Switzerland with some slick widescreen camera angle rotational footage from top.
She has been asked to offer a supporting role and sing in a lower ‘Alto’ range, so that Rahat’s off-da-hook fulltu high-pitched ‘treble’ vocals can make make da max impact and strike a chord. It is this start contrast of scale between both singers that delivers da melodious punch.
Between 1st & 2nd stanza, Rahat’s soulful croons whereby he pours his heart out from 1.38 to 1.52, with emphasis on line AAAAA (off-da-hook desperation feel, waah kya sur pakda hai!) from 3.30 to 3.32 along with repetitive key flicks that depict a sense of urgency.
2nd stanza
The white noise in da background in unplugged mode due to sound modulation from 3.44 to 3.57 has a thunderous resonance (goonj) that gives an ambient feel of being in an underwater cave in an unexplored mysterious planet.
Throughout da stanza, da subtle likeable intermittent piano keys give a pleasant vibe.
The cutting whoosh effect comprised of a 2 lighter set (build up) from 3.55 to 3.57 followed by 1 heavier hit (kill effect) at 3.58 gives a grandeur effect, just hear it roll to get da stanza underway! Such whoosh/hit effect was used at same stanza part from 2.21 to 2.23 & 3.45 to 3.47 in JUNOON from ROCKY – THE REBEL.
Rahat, a master of high pitched vocal alaaps, lowers his pitch to croon some middle octave subtle feel croons on well structured composition notes i.e. LAGAAYA (normal note) from 2.08 to 2.09, JAGAAYE (higher note) from 3.47 to 3.49, TUMHARA (normal note) from 3.51 to 3.53, TADPAAYE (higher note) from 3.55 to 3.57
He shifts back to his usual range from 3.57 to 4.04 and croons on a high pitched repetitive composition pattern, whereby da listeners find themselves urged on to join his cause on behalf of da protagonist.
Rahat’s lines, FAASLE YE TERE MERE (terrific emphasis singing) from 4.00 to 4.02
Himesh – the sufi rwak composer is at work here and it is commendable how he joins Rahat’s high-pitched lines from 3.57 to 4.04 to the vocal theme piece alaap from 4.04 to 4.12 at the same note at 4.05, a trait which he used to similar effect in da stanzas from WHO LAMHA from KAJRAARE in terms of prolonged ‘extended’ twists-n-turns.
Shreya’s minty vocals from 4.13 to 4.48 gives an imaginary feel that da lovers are somewhere in da icy mountains of Arctic or Da Alps in Switzerland with some slick widescreen camera angle rotational footage from top.
The gradually rising keys pattern from 4.42 to 4.49 behind her lines is of great overall melody cause.
The song marks its end with grand new age trumpet piece along with quick key flicks and white noise that gives a feel of standing near a jumbo jet’s engine or near a coal mine blast furnace that gradually fades away and dies down, as if da lovers came out from their slumber sleep into da realms of life.
Highlights of this song:
1. The stark contrast between Rahat’s high-pitched emphasis vocals and Shreya’s refreshingly mystic subtle feel vocals.
2. The laidback free flowing underlying beat, cutting edge whoosh effects, subtle pleasant piano keys in stanzas, quick repetitive key flicks, white noise that gives fluctuating resonance and sad raga tune.
3. Rahat’s vocal theme alaap which is USP.
This duet depicts a fairy tale love story between two eternal lovers (jaise ke khwabon ki anokhee duniya mein pari aur sapno ke raj kumar ki).
While there is hardly any traces of Himesh – the pre ABA composer with ‘typical unique HR melody’, what is commendable though is how Himesh – the sufi rwak composer has included some of his key traits (vocal alaap theme piece n prolonged twists-n-turns), but molded n incorporated them into urban Desi Indian orchestration (rather than going da full on hard core sufi rwak way).
With due respect to Rahat Fateh Ali Khan, it is ‘but natural’ for fans to feel that Himesh should have sung this song, especially how his killer sufi rwak vocals would have sounded on da history vocal theme piece alaap.
Some songs are instantly catchy but fade away with time, but this song will grow upon da listeners with repeat hears as they come to terms with its wavelength and hence it has a tremendous repeat hear value appeal as the listener gets lost into da aura of its world (also courtesy due to da lyrics).
In terms of the overall composition tune, apart from history complex prolonged vocal theme piece alaap, this song is simple, decent and well structured ‘melody wise’.
In terms of music arrangement, it has a relaxed laidback tempo along with free flowing vocals (due to which stanzas are shorter to compensate for overall time duration). In terms of its shelf life, da only potential hinderance may be its slow nature.
Where this song 'impresses and works' is the overall new age modernized contemporary ‘larger than life’ treatment given to it in terms of music arrangement, along with history vocal alaap theme piece and Rahat’s high pitched lines which are its USP (thankfully this song was sung in high-pitched male vocals!).
Songs like these (and Main Jahaan Rahu / Apne Toh Apne Hote Hain) will help his cause of ‘damage control’ and rather revert it whereby certain segment will be forced to change their stance towards him after acknowledging his class.
Desi Beat
After doing a sad Punjabi song Tuteya Ve (Shaadi Se Pehle) with his elder brother Daler Mehndi, Himesh ropes in Mika Singh to croon a peppy Punjabi number for him.
Da starting combo of wicked comic vocal piece with a funky retro tune from 0.01 to 0.16 has gotta be Sallu mia’s brainchild and it has a shock surprise value attached to it as da listener breaks up into a smile (this could become da cult adlip amongst da youth).
The quick CD reverse-spin effect at 0.08 is joined in by dhol beats.
The energetic vibrant Punjabi male vocals from 0.15 to 0.16 are followed by peppy Punjabi instrument tune piece from 0.16 to 0.24
The ‘band baaja’ tune piece from 0.24 to 0.28 is a touch inspired from 0.22 to 0.40 in GHAGHRA from KURUKSHETRA.
The naughty funky fanfare trumpet piece from 0.29 to 0.31 reminds of the same naughty funky trumpet piece (not da exact tune but in terms of its funky naughty intent) from 4.54 to 4.57 in GOOD BOY BAD BOY TITLE TRAX.
Himesh HITS IT real HARD / GOOD with profound heavy dhol thumping hits from 0.47 to 0.49, 0.56 to 0.58, 1.09 to 1.11 (that were used for similar effect from 2.57 to 3.01, 3.19 to 3.21, 4.13 to 4.17 & 4.35 to 4.38 in ANKH VICH CHEHRA from APNE) build up Mika’s energetic vocals followed by vibrant Punjabi male vocals from 0.49 to 0.50, 0.59 to 1.00, 1.12 to 1.13 followed by quick drum-roll beats that give KICK from 0.50 to 0.52, 1.00 to 1.02 & 1.13 to 1.15 and joined in by main dhol beats along with peppy Punjabi instrument tune piece from 0.52 to 0.56, 1.02 to 1.05, 1.15 to 1.18 that give 'completeness' effect.
Between mukhda & 1st stanza, the band baaja theme piece conjoined with a naughty funky fanfare trumpet piece from 1.18 to 1.26 is followed by wicked funny vocal theme piece along with funky retro tune from 1.26 to 1.34 followed by peppy Punjabi instrument tune piece.
1st stanza
Mika sings with energetic vocals on a simple repetitive tune pattern from 1.37 to 1.53 along with profound heavy dhol skips, followed by GHAGHRA (KURUKSHETRA) band baaja styled intermittent tune.
Amrita Kak’s lines from 1.56 to 2.00 on repetitive tune pattern were similar MENU CHAION NA EK PAL AAVA TERI YAAD BADI TADPAVE AB TOH EK PAL CHAIN NA AAVE from 0.07 to 0.23 in ANKH VICH CHEHRA from APNE.
The quick CD reverse-spin effect at 2.01 is of good cause.
Amrita Kak’s line HAARI (quick up twist) from 2.02 to 2.03 is similar to line VEEE (quick up twist) from 0.22 to 0.24 in ANKH VICH CHEHRA from APNE.
Amrita Kak’s line, HO - OO - OO - OO from 2.03 to 2.07 is similar to the line JAA – AA –AA –AA from 0.53 to 0.54 in DIL TUMHARE BINA from 36 CHINA TOWN and line HAAI - AI - AI - AI from 1.43 to 1.45 in TERE NAAM TITLE TRAX in terms of 3 step descent by 2 notes each.
Between 1st & 2nd stanza, a quick bansuri / traditional flute tune piece (quite ordinary) plays from 2.31 to 2.38 along with maje Pujnabi vocal ending effect, followed by some feel good female rap vocals from 2.38 to 2.45 that are representative of those 'nakhre wali kudiyaan joh sajh-dhaj aur sawar ke shadiyon me kisi ko bhi zyada bhau nahi deti'.
2nd stanza
Amrita’s sings with energetic vocals on a simple repetitive tune pattern from 2.53 to 3.08 along with profound heavy dhol skips, followed by GHAGHRA (KURUKSHETRA) band baaja styled intermittent tune.
Mika’s energetic lines from 3.11 to 3.17 on repetitive tune pattern were similar MENU CHAION NA EK PAL AAVA TERI YAAD BADI TADPAVE AB TOH EK PAL CHAIN NA AAVE from 0.07 to 0.23 in ANKH VICH CHEHRA from APNE.
Mika’s line, HONA - AA – AA- AA (3 step descent by 2 notes each, intense emphasis croons) from 2.03 to 2.07 is borrowed from a leaf out of Himesh's sufi rwak singing style and one can't help smiling on this fact.
The song ends with combo of wicked comical male vocals of funky retro tune piece (with an finishing echo effect from 4.02 to 4.05).
Highlights of this song:
1. Mika Singh and Amrita Kak’s energetic vocals.
2. Da starting combo of wicked comic vocal piece with a funky retro tune, band baaja tune piece followed by naughty funky fanfare trumpet piece, both which are theme pieces in this song.
3. The profound heavy dhol thump hits and quick CD reverse-spin effect.
4. Energetic vibrant Punjabi male vocals, peppy Punjabi instrument tune piece and feel good female rap.
Rhythm takes precedence over melody in this high full on energy song which is made for situational backdrop of proceedings in the film for Sallu mia to showcase his dancing skills.
Desi Beats Remixes
Punjabi Hip Hop mix
Hip Hop Punjabi mix is better than normal Remix version, and it is da 'chuppa rustam' song of this album that should make great on-screen impact.
The song begins with a harmonium piece in unplugged mode followed by underlying beat.
Alam Ghir khan’s traditional folk rustic feel vocals are representative of da closeness to ‘punjab di mitti di khushboo’.
There is a groovy ambient vibe of a 'metal lead tone' in da background sound from 0.06 to 0.26
OFF-DA-HOOK quick heavy beat hit pattern from 0.41 to 0.43, 1.22 to 1.24 and so on give TREMENDOUS KICK.
The female rap part along with peppy punjabi instrument tune from 1.02 to 1.07, 1.10 to 1.16 & 1.25 to 1.27 gets da listener into da zone n groove of da song.
Alam Ghir khan’s lines, LOVELY LOVELY aka LAVELI LAVELI (OFF-DA-HOOK typical interior Punjabi pronunciation) from 1.44 to 1.45
Cutting-edge techno bazz sound in stanzas from 1.44 to 1.59 & 2.46 to 3.00
Female rap lines, MEET * repetitive (computerized repetitive skip effect with rising scale to signify full of attitude) from 2.43 to 2.45
This one is specifically targeted towards da Punjabi segment and should find its place amongst it.
Desi Beat - Remix
This remix has a smoother uninterrupted flow than da original due to da underlying free-flowing beats with a dose of fluctuating live-wire calypso sound, especially from 0.16 to 0.21, and so on.
The quick computerized echo skip effect from 0.48 to 0.51 & 1.01 to 1.03 is of good cause. That reminds of quick computerized echo skip effect in between 3.25 & 3.38 in TERE SANG ISHQ from TOM DICK N HARRY.
Teri Meri Reprise
As the original song depicts the pain of separation of two lovers, the reprise version is a good follow up to depict their re-union.
The differences in original and reprise versions are:
> The 2 elements of the underlying beat i.e. an underlying thump effect pattern (that was similarly used from 1.07 onwards in TUM SAANSON MEIN from HUMKO DEEWANA KAR GAYE) and quick free flowing 1 bit Waltz hit pattern are excluded and done away with. The 3rd element, SHARP laidback hit pattern after every alternate second has been replaced with a HARD laidback hit pattern, the hard hit (in terms of beat instrument, not da exact pattern) which is similar to da hard hits at 0.20, 0.22 and so on after every alternate second in VEERINIYAAN from NAMASTEY LONDON.
> The quick key flicks at varying notes become more aggressive as if to enhance da cause of urgency.
> Marching band quick drum-roll beats at 0.53, 1.08, 1.15 & 1.22 and so on.
> There is inclusion of resurgent euphoric male and female chorus.
Theme Instrumental
The song begins with a profound bazz sound from 0.01 to 0.03 followed by a whoosh sound that signifies a gush of wind from 0.09 to 0.15, along with underlying grand trumpet tune.
From 0.15 onwards, proceedings are beefed up in terms of tempo and go into a narrow fast lane of trance when the rhythmic beats kick in along with retro bazz sound.
The synthetic tune piece plays from 0.50 onwards.
The gush of wind has computerized skip effect from 1.02 to 1.04
The BEST part arrives from 1.18 to 1.32 with Rahat’s soulful prolonged vocal theme piece in unplugged mode along with synthetic techno tune that cuts through across from both left and right speakers.
Rahat’s desperation plea croons, AAA (awesome computerized echo effect) from 1.27 to 1.32, AAAA (awesome computerized quick twist) from 1.53 to 1.54
The additional techno bazz sound hit pattern after each second give the key effect to the underlying rhythmic beat from 1.54 onwards.
The tune from 2.07 to 2.20 signifies the ‘reprise’ element / portion.
The theme piece ends with a profound bazz sound from 0.20 to 0.22 followed by followed by a retro tune with a computerized skip effect.
This instrumental that signifies da urgency of matters in da proceedings is an ideal RDX / ammunition for critical background score moments in this ‘romantic action’ flick.
My Picks
The BEST song of Bodyguard is Aa Gaya Hai Bodyguard Duet Promo (with added/additional female vocals) but it does not feature in the OST.
BEST vocals in da album are catchy middle-octave male vocals AAYA RE AAYA BODYGUARD along with OFF-DA-HOOK wicked cult synthetic guitar riffs from 2.07 to 2.09 & 2.17 to 2.19 that STRIKE A CHORD and get da listeners in da zone in BODYGUARD TITLE TRAX, and Rahat's HISTORY prolonged alaap in between 1st stanza gap from 1.38 to 1.52 in TERI MERI PREM KAHANI.
BEST orchestration in da album is the LAIDBACK RHYTHMIC part from 0.08 to 0.45 which marks da grand entry / intro of Salman Khan as BODYGUARD, and gives JAZBA to da listener / viewer in da process.
1. Aa Gaya Hai Bodyguard
Aaya Re Aaya Bodyguard is ranked highest due to 2 parts in the song which are basically CULT stuff i.e. the grand starting intro followed by the laidback rhythmic part from 0.08 to 0.44 which gets da lisener into da zone n makes them feel it big time, and the lines THA TUMHARA BAS INTEZAAR (off-da-hook catchy funky guitar riffs) AAYA RE AAYA BODYGUARD (off-da-hook catchy funky guitar riffs) * 2 from 2.02 to 2.20 which give jazba to listener.
Going by popular one-liners of recent Salman hits, a theme piece on da menu cards in terms of audio visuals was indeed a ‘street-smart’ move as it could be used for promotion as well in da narrative background. It is custom made to showcase da magnum-opus larger than life onscreen presence and persona of Salman as ‘bodyguard’. Although it may have a déjà-vu feel in southern orchestration portion to an extent but after having scored for south flims like Bommalattam and Dasavatharam, this Himesh song would be lapped by any South film maker. This one is da USP of da soundtrax and with Sallu - Kat jodi shaking a leg to it and doing their thing, it should make its maximum impact in da ‘audio visuals’ to bring da house/show down.
The RWAKIN underlying heavy laidback rhythmic beat from 0.19 onwards followed by Sallu mia's tag line MUJHPE EK EHSAAN KARNA, KE MUJHPE KOI EHSAAN NA KARNA from 0.19 to 0.23, followed by Band of boys punch lines FEEL DA HEAT FEEL DA KICK FEEL DA POWER FEEL DA PUNCH from 0.25 to 0.37 followed by OFF-DA-HOOK wicked funky guitar riffs along with Arya's fulltu attitude tag line BODYGUARD from 0.38 to 0.44 is basically CULT stuff whereby Himesh shows just how to HIT IT, and whereby da listener gets SIKED UP n FEELS IT BIG TIME.
2. Teri Meri Prem Kahani
It won’t be instantly catchy, neither will it give pricking sensations or tingling goose bumps like some of the ‘trademark’ Himesh best works. But this simple well structured composition with a complex prolonged history alaap in between 1st stanza gap and nostalgic orchestration that gives it a 'larger than life' feel setting will come across as a pleasantly likeable free flowing melody that will grow upon da listeners upon repeat hears once they get into its groove. Hence it has a tremendous repeat hear value appeal once da listener connects with it and gets lost into da aura of its world (also courtesy due to da lyrics). Though the ‘typical Himesh traces’ are evident in ‘bits n pieces’ but they are missing in ‘totality’. This should ideally be shot outdoors on breath-taking exotic locations with wide screen rotational camera angles for max audio visual impact.
This song has broken all records in downloads and online hits. There are 3 reasons for this. 1. 'Larger than life' music arrangement / orchestration. 2. Complex raag based HISTORY prolonged alaaps in between stanza gaps n ending of each stanza that 'strike a chord'. 3. Lyrics that represent da bonding between 2 eternal lovers n they can connect n associate with it n relate to it. Hence due to these factors, da song has a 'tremendous repeat hear value appeal' whereby da listeners get lost into its world / aura once they get into da song's zone/groove. All in all, this song is a 'nostalgic fairytale' affair, as also depicted by its song video. Truly a love anthem.
3. Desi Beats
Audio-wise it may have a limited ‘repeat hear value appeal’ in terms of its overall shelf life whereby rhythm dominates at expense of melody but it can be grooved upon due to its 'high on energy' value. In terms of melody, it’s an average ordinary déjà-vu affair, run-of-da-mill stuff and moreover is uncharacteristic of his sound. It is felt that there would have been a ‘catchier’ rhythmic ‘melody’ in his massive song bank of 750 tunes to do full justice da specialty of occasion, especially when he has been right on da money on several occasions in da past in small/medium budget films. It is deliberately targeted by da makers to reach da masses i.e. to find a place in DJs playlist in parties and wedding functions. Remix and hip hop versions are better and should make greater impact in audio visuals. It has da potential to spread like wildfire courtesy due to Sallu's typical on-screen antics (especially Punjabi Hip Hop mix).
> Teri Meri Prem Kahani original version is better than reprise, because of da history prolonged vocal alaap in da former which is not there in da latter.
> Along with title trax, theme Instrumental is also da USP in terms of background score in crucial / key portions in the romantic love story angle perspective of the film.
Verdict
Judging from da statement that ‘working with Salman gets da best out of himesh’ which is testified from their previous best works in years gone by (most notably da evergreen best seller klassik Tere Naam that created history, broke/smashed every imaginable record and set new ones), does it live up to its merit! To be brutally honest, given da buzz and hype surrounded from the reunion of Himesh – Salman hit Jodi and mammoth soaring expectations, this album falls short in terms of meeting the extraordinarily high benchmarks set by their previous works. It is felt that Himesh's best potential wasn’t tapped n extracted that he is actually capable of because he can do way much better that this when he is in his ‘typical elements’.
However, this is because it seems though that da makers had given first hand instructions and directive to Himesh as to what kind of soundtrax they exactly wanted and he gleefully obliged and did 'justice' to it by delivering custom made songs. Going by the choice of title trax (Southern styled rhythmic peppy music arrangement and high-pitched male chorus band) and selection of singers (Rahat Fateh Ali Khan, Mika Singh and Amrita Kak), it seems that Sallu mia wanted to go en-route da safe ‘tried n tested’ way in terms of his recent past successful flicks.
He had given Himesh some inferences and had some dictat over his sound to work within certain limited restricted boundaries rather than leave him alone in his music room to come up with tunes carrying his patented trademark signature. Hence, Himesh’s creative independence has been compromised in da process in terms of trying to cover each genre and deliver da required goods as per specifications in limited scope (only 3 original songs) and limited timeframe (it was a sudden unanticipated ‘ad hoc’ opportunity arising out of da blue from nowhere).
In a nutshell, this is ‘not the best works’ of either da Himesh-Salman Jodi (or da typical Himesh - the composer for that matter), because da fact is that 'both his avatars (including himesh – the singer)' are pretty much non-existent and are therefore missed. This album is going to get a mixed response because certain segment feel that it should have had the best of ‘trademark Himesh stamp’ but da sound is rather ‘unconventional’ of him and a ‘very different composer’ in Himesh is heard this time round. Therefore the tunes catch people by unexpected surprise based on their high initial expectations which aren’t quite met, and they are likely to get initially baffled and then later settle down as they come to terms with and get used to it.
However da soundtrax would 'reach out to its target audience' and 'works' in da overall film’s context and would 'do da trick' in terms of audio visuals that are tailor-made for its theme/genre. Since this movie is promoted across as 'action - romantic - comedy', the slow rhythmic part in Title Trax caters for 'Action', the fast peppy southern-styled part in Title Trax caters for 'comedy', Teri Meri Prem Kahani caters for 'Romance', and Desi Beats caters to Sallu Mia's peppy wicked funky on-screen antics which are uniquely mast bindass in their own style, and therefore Himesh has delivered as per requirements.
This album has all ends covered up for both da tastes of masses n classes i.e. Aa Gaya Hai Bodyguard which is out-n-out tapoori style and could be played in festivals. Desi Beats is a Punjabi dance track again which can be played at massy occasions. And then there is class in form of Teri Meri Prem Kahani that a musical purist would lap up.
Pros
This album really comes across as bonus just like a blessing in disguise, whereby da ‘timing’ of da occasion was ideally perfect more than anything else i.e. Himesh seized in da opportunity to meet and congratulate Salman after super success of Ready and cashed in on his this initiative as Salman was in good mood and things materialized from there on. Otherwise, it seldom occurs that a composer (that too an A-list one like Pritam) who has already been assigned a project and commenced work on it is asked to back off and make way for his fellow counterpart.
It also ends Himesh’s much debatable ‘self-imposed policy decision’ and marks his return / re-entry back into da main fray scheme of things as it signals to da whole industry that from now onwards he would be willing to work with outside banners as well rather than only as an overall package deal.
This album would be of great cause to enhance the PRO of Himesh – the composer as it has a wider appeal and caters / reaches out to mass segment of listeners (and not just restricted to hard core Himesh fans). This is because it takes a complete 360 turn from his own filmi albums as it has variety of male singers, so it has something in it for his so-called critics of his vocals (where were da haters in the pre-ABA era!). On this front, this album is ‘all plus and no minus’ for Himesh.
It should be enjoyed on two counts, first due to Himesh-Salman reunion and second due to Himesh’s versatility as a composer.
Two high-points for Himesh – the composer:
How he experiments and plays around with sound according to changing trends-n-times (OFF-DA-HOOK from 0.11 to 0.45) in AA GAYA HAI BODYGUARD.
His well structured prolonged theme vocal alaap (HISTORY from 1.38 to 1.52) and overall music arrangement (well refined and a notch above) in TERI MERI PREM KAHANI.
Cons
After Himesh marked his debut as a singer, it is hard to imagine any of his albums as a sole composer (excluding as a guest composer) from thereon whereby he hasn’t sung in it. The only time this happened was in Shaadi Se Pehle (2006).
Having said that, da question is bound to arise in every Himesh-Salman jodi’s supporters / well-wishers mind, why so! Was it because Salman took digs n potshots at Himesh’s nazal vocals in reality shows or that Himesh wanted to reserve his vocal USP for his crucial / critical upcoming next Damadamm as an actor! Well this will only remain as a speculation.
Given that this was da reunion of Himesh with his mentor who gave him initial break as a composer after many years, Sallu mia lip-singing to Himesh’s killer sufi rwak voice on da big canvas would have been history in da making in itself. Just like iceing on da cake (jaise ke sone pe suhaaga) and would made this occasion ‘grand’. Therefore, this album misses out on a killer title track in Himesh’s Sufi Rwak voice that would have set da house ablaze and brought da show down. Himesh fans ought to be disappointed on this fact. However, Sallu mia shaking a leg on Himesh’s tunes once again is a warming and satisfying feeling.
Anyways, Himesh ne apne mentor ka karzzzz chukaya hai and one could only hope that this is da beginning of another long-lasting combo association whereby Himesh would hopefully lend his vocals to Salman’s charismatic persona in da future, which would seal off da deal completely.
Since Himesh – da singer hasn’t worked with or sung for da remaining 2 big khans (SRK & Aamir), it is always a good plus if he croons for other A league stars like Salman Khan and Akshay Kumar in terms of finding ‘universal acceptance’ of his voice all over amongst aam junta.
Those who have missed Himesh’s uber rwakin nazal tone in this album will have to wait till Damadamm, provided that he hasn’t sung everything in his new found Radio singing style / voice and spared some slots for his sufi rwak vocals.