radio

Music review analysis of Himesh Reshammiya's album Radio (2009).

Mann Ka Radio

The song begins with a CULT female sound followed by intermittent string hits which really sets the undertone.

From 0.09 onwards, the bazz guitar strings/riffs pluck away on different notes

Himesh joins in with subtle feel good vocals and sings the mukhda lines in his so-called definitive middle bazz octave especially BAJNE, DEDE, & JEELE. There is hardly any trace of nasal twang.

The tune after toota dilLLLLL (prolonged soothing feel) from 0.45 to 0.47 & jho huwAAAAAAAA (prolonged soothing feel good down twist) from 0.59 to 1.01

The tune between 0.47 & 1.04 is mesmerizing.

From 1.04 to 1.18, the bazz guitar string plucks are great.

Himesh's lines, de de tu zaRAAAAAAAAAH (gentle prolonged voice deepening) from 1.17 to 1.19

This is great build up until this point.

From 1.19 onwards, the beats that take the song to a new level, hit it hard and sharp and the bazz sound is off-da-hook.

By this time the song is in its full groove.

From 1.29 to 1.43, mann ka radio, NORMAL BAZZ SOUND NOTE, bajne de zara, HIGHER BAZZ SOUND NOTE, gam ko bhul kar, NORMAL BAZZ SOUND NOTE, jeele tuh zaara, HIGHER BAZZ SOUND NOTE. station koi naya, NORMAL BAZZ SOUND NOTE, tune kar le tuh zara, HIGHER BAZZ SOUND NOTE, fulltu attitude, HIGHER BAZZ SOUND NOTE, dede tuh zara.

These variations in the bazz guitar notes are the key.

From 1.45 to 2.00, additional sharp beat joins in, just like hitting an ICE SLAB WITH A HARD HAMMER.

From 2.01 to 2.04, OFF-DA-HOOK wicked rebel BAZZ sound in unplugged mode plays giving sike.

From 2.12 to 2.13, uspe jhoLJAAAAAAAAA (gentle prolonged voice deepening).

Between mukhda & 1st stanza, the mesmerizing tune plays.

1st stanza

The underlying string bazz sound is great.

In between 2.35 & 2.40, the pleasant tune sur is vital.

From 2.37 to 2.38, CHHOD-DE (up 2 notes, feel good emphasis) –EE (down 1 note, feel good emphasis) is great composition.

From 2.40 to 2.49, the well structured composition is from Himesh's old school of music and sung with feel good vocals. A close reference to such well thought feel good melody in terms of 'pattern' and 'not tune' are lines from 2.36 to 2.47 in KI KARA MEIN KI KARA from NIGHEBAAH – THE 3RD EYE.

Between 1st & 2nd stanza, the mesmerizing tune is back again.

2nd stanza

The underlying string bazz sound is great.

From 2.35 to 2.40, the tune sur is vital.

In between 3.21 & 3.28, the pleasant tune sur is vital.

From 3.24 to 3.25, CHHOD-DE (up 2 notes, feel good emphasis) –EE (down 1 note, feel good emphasis) is great composition.

From 3.29 to 3.37, the well structured composition is from Himesh's old school of music and sung with feel good vocals. A close reference to such well thought feel good melody in terms of 'pattern' and 'not tune' are lines from 4.11 to 4.21 in KI KARA MEIN KI KARA from NIGHEBAAH – THE 3RD EYE.

From 3.47 to 4.01, the additional SHARP ICE SLAB beats join in thus giving a refreshing feel.

The song ends in unplugged mode with Himesh showcasing his new found voice.

Highlights of this song:

1. Himesh's new non-nazal definitive middle bazz octave voice.

2. The cult sound in the beginning, bazz string guitar NORMAL/HIGHER BAZZ SOUND NOTE plucks/riffs, the SHARP ICE SLAB beats.

3. The underlying beats and mesmerizing tune piece between both stanzas and also in mukhda portion.

4. The pleasant tune sur wherever mentioned.

This is a total safe play in an album with experimentation.

It is a simple feel good yet catchy melody. Smart choice!

Zindagi Jaise Ik Radio

Is this your Chakna Chakna part 2!

Well not really because chakna was an uptown urban retro number whereas this is one is your small town / pind traditional number.

A major factor is due to the instruments and beats. This is a total "mass" number.

The female rap in the beginning is great and her line "get it MOTHER FATHER" is perhaps an indirect tease to Himesh haters. Lyrics are peppy and youthful.

The twist in lines, zindagi jaise ek radio-OO(down)-OO(down)-OO(down) are inspired by ALLAH KARE-EE(down)-EE(down)-EE(down) from 0.22 to 0.23 in ALLAH KARE from AHISTA AHISTA.

The punjabi andaz in which HR says DHUN-A is great.

From 1.08 to 1.28, the dhol beats lighten up the song whereby HR's vocals are in total sync with them to give a foot tapping feel.

The energetic male vocals on lines SHAAVA are great.

Between the mukhda & 1st stanza, the peppy cunning Punjabi folk tune plays and the bazz sound from 1.51 to 1.52 (4 hits) plays.

1st stanza

Himesh goes the subtle way and croons the lines HAAI, Kushti ve, HAAI, masti hai,
in MIDDLE OCTAVE along with feel factor

The bazz sound (4 hits) at 2.03, 2.11 & 2.27 is great.

The cheeky tune also does its job well.

From 2.28 to 2.44, the full dhol beats kick in and male vocals crooning HAAI in intervals along with 4 bazz sound. This is the best feel good part of the song.

Between 1st & 2nd stanza, the cunning Punjabi folk tune is back again and it gets unplugged at 3.06 followed by OH CHAK DE and bazz sound (OFF-DA-HOOK).

2nd stanza

Himesh goes the subtle way and croons the lines HAAI, lafra hai, HAAI, taghra ve in MIDDLE OCTAVE along with feel factor.

The bazz sound (4 hits) at 3.28 & 3.44 is great.

The cheeky tune also does its job well.

From 3.45 to 4.01, the full dhol beats kick in along with 4 bazz sound and this is foot tapping stuff.

From 4.10 onwards, the dhol beats join in to give nice effect and HR tries in all manner to convey the message with the words ALAG ALAG.

He goes unplugged and full-throated, very much the old-style Himesh voice and nice to hear such a number that can be associated with earlier works.

Highlights of this song:

1. Himesh's energy filled vocals in mukhda and subtle in antaras, the quick down twist of RADIO-OO-OO-OO and DHUN-A are the highlight.

2. The female rapper in the beginning and energy filled male vocals crooning HAAI , SHAVA, OH CHAK DE.

3. The bazz sound (4 hits) and additional dhol beats.

Jaaneman

This is an answer to critics who said that Himesh's music is LOUD.

The song is the SOFTEST in whole album.

The song begins with feel good strings. Himesh croons with subtle feel vocals.

The JAANEMAN line is divided into 3 segments, JA (profound twist) AAA, NE (profound twist) EEE, MA (profound twist) NNN, and is well structured.

The underlying beat is also very laidback and chilled out, it is really a mesmerizing outing whereby the tempo of song is also slow, ideal for a long-drive.

At 0.49 & 1.24, MA (high note) NN (soothing feel good).

Between mukhda & 1st stanza, the pleasant female vocals enhance the subtle feel good nature of song.

1st stanza

Utter soothing vocals sung in middle octave vocals are enhanced by feel good guitar flicks.

From 2.11 to 2.15, ROOTHE REH TE HAAI (low twist), this is your old styled Himesh-the composer, whereby the composition pattern is inspired by lines 'har jaga tujhe deekhe nazar, de diya tujhe JAAN-O-JIGAR' from 4.01 to 4.09 in YEH DIL TOH MILA HAI (DIL NE JISE AAPNA KAHA).

Between 1st & 2nd stanza, feel good strings along with subtle tune.

2nd stanza

Shreya comes to mesmerize the listener with innocently cute vocals sung with immense feel.

At 3.06, liyeEEE (emphasis twist).

From 3.09 to 3.13. PAL PAL BADHTA HAAI (low twist), this is your old styled Himesh-the composer, whereby the composition pattern is inspired by lines 'BADLA MIZAAH BEKHABAR HAI MANN (low twist)' from 2.31 to 2.35 in YEH DIL TOH MILA HAI (DIL NE JISE AAPNA KAHA).

Shreya's line, jaa-NEEE from 3.36 to 3.37 gets melodiously heavy on the listener.

Himesh's ending lines in unplugged part have an underlying DEPTH / GOONJ and this is great news when compared with his SHARP KNIFE EDGE sufi-rwak vocals.

Highlights of this song:

1. Himesh's utter soothing and soft vocals.

2. Shreya's innocently cute melodious vocals.

3. The subtle string tune along with laidback feel good beats.

4. The soothing female vocals.

This is a pure gem, a class act & lambi race ka ghoda.

However, there is only one drawback which is the 'soft' music arrangement, and coupled with Himesh's subtle vocals make it a little lukewarm.

Still, theres no taking away from the song, but to illustrate what I mean, have a listen from 0.06 to 0.45 in below video whereby the rhythmic orchestration added an extra foot tapping zing to da song.

Had the original orchestration been heavier like in this video, then this song could have been many notches higher.

Piya Jaise Ladoo

Ustad himesh reshammiya is at the helm of affairs.

He sings in his so called new definite bazz middle octave vocals.

This is like version 2 of AANE DO – THUMRI from KUCH MEETHA HOJAYE. It is meant to be a pure classical raga number but what gives it commercial element is Himesh's semi-classical singing style. The fact that Himesh kept in mind the soundtrax of Kuch meetha hojaye is confirmed when he gets inspired by the theme tune piece.

The song begins with an extended shehnayi piece until 0.48

The raga tune piece from 0.52 to 1.05 is similar to the tune piece in terms of pattern from 0.05 to 0.16 from KUCH MEETHA HO JAYE.

The combo of shehnayi and raga tune enhances the semi-classical appeal and mood of the song.

Rehka's line, PIIIII (classical twist) YA at 1.04 & 1.38, 1.56, 2.22, PHUTE HAAI (passionate high pitched emphasis) from 1.14 to 1.16, 1.48 to 1.50 & 2.33 to 2.34, PHU (feel good classical twist) TE (feel good classical twist) at 1.19 & 1.53, CHUTE HAI (passionate high pitched emphasis) from 1.31 to 1.32

The underlying subtle classical tabla beats kick in from 1.38 onwards.

Himesh arrives with his emotional feel vocals from 2.04 onwards and his straight singing adds a commercial element.

The underlying drum beat skips in between 2.02 & 2.18 were similarly used from 0.54 onwards in TERE NAAM – SAD VERSION, & the subtle bazz trumpet behind Himesh's lines gives a sadistic feel.

Himesh's lines, OOOOO (soothing alaap) from 2.00 to 2.01, MAGAR (low subtle classical twist) from 2.09 to 2.10, OOOOO (prolonged classical twist followed by awesome raga tune giving complete effect) from 2.19 to 2.22

Between mukhda & 1st stanza, KUCH MEETHA HO JAAYE styled raga theme piece plays along with TERE NAAM – SAD styled subtle drum beat skips.

1st stanza

The tabla beat pattern and intermittent raga tune enhance the semi-classical feel of the song.

Rekha's lines, HOOO (awesome feel twist) at 3.09, PIIII (quick classical twist) at 3.19

From 3.22 to 3.26, HR's emotional feel lines along with laid back drum skips, subtle bazz raga tune and quick shehnayi tune gives a desperation helpless feeling of urgency to somehow get back the lost love that has separated miles apart.

Himesh's straight singing style in contrast to Rekha's classical vocals is the highlight.

Himesh's lines KYUN (subtle low twist) at 3.27, MAGAR (subtle low twist) at 3.30, OOOOOOOO (prolonged classical emphasis twist followed by raga tune that gives complete effect) from 3.40 to 3.42

Between 1st & 2nd stanza, KUCH MEETHA HO JAAYE styled raga theme piece plays along with TERE NAAM – SAD styled subtle drum beat skips.

2nd stanza

The tabla beat pattern and intermittent raga tune enhance the semi-classical feel of the song.

Rekha's lines, HAAN (feel twist) from 4.30 to 4.31, ZINDAGI-IIIIII (awesome prolonged classical twist) from 4.38 to 4.39, BE (desperation feel) at 4.40, HAAN (awesome feel twist) at 4.42

Himesh's emotional feel lines along with laid back drum skips, subtle bazz raga tune and quick shehnayi tune gives a desperation helpless feeling of urgency to somehow get back the lost love that has separated miles apart.

Himesh's straight singing style in contrast to Rekha's classical vocals is the highlight.

Rekha's singing prowess is on display with lines HOOOOOO (prolonged desperation feel) from 5.16 to 5.18, LADOOUUUUOOO (soothing feel twist) from 5.21 to 5.23

Highlights of this song:

1. Shehnayi, raga (along with bazz raga tune behind HR's vocals) and classical tabla beat pattern.

2. KUCH MEETHA HO JAAYE styled raga theme piece and TERE NAAM – SAD styled subtle drum beat skips.

3. Rekha's pure classical vocals.

4. Himesh's subtle emotional feel straight vocals along with finishing twists to add commercial element.

5. Special mention for mukhda lyrics

This is a treat to music purists who like their sound unadulterated & Himesh proves yet again that his sound core fundamental basics (raags) can never be questioned.

Talk about versatility!

Koi Na Koi

The song starts with underlying finger snap snaps that gives subtle feel along with raga instrument.

From 0.24 to 0.29 & 0.34 to 0.38, Sarangi tune is HISTORY, it hits 6 times in sets of 2 hits (the last 2 hits give history instrument effect).

From 0.41 to 0.42, Himesh pours his heart out with NA (classical feel twist) AAAAAAAA.

From 0.44 to 0.46, hum (sudden high note) SAFAR ZINDAGI (awesome continuous gradual descending notes/vocals).

From 0.47 to 0.49, 1.09 to 1.11 & 3.38 to 3.40, yeeeEEEEEEEEE (prolonged) EEEEAA (profound twist) was similarly used in lines CHAIN (low twist) & PAAS (low twist) from 2.14 to 2.17 in AARZOO from MR FRAUD.

At 1.00 & 1.05, HA (emphasis) AAAAAI (twist).

From 1.07 to 1.09, keh ra (sudden high note) HI AAWARGI YEEEEAAAA (awesome continuous gradual descending notes/vocals).

Between mukhda & 1st stanza, the subtle tabla beats play along with raga tune followed by the history sarangi instrument tune (which plays faintly in the background of both stanzas).

1st stanza

It is better than 2nd stanza due to the fact that Himesh's definitive middle octave vocals go very well hand in hand with the bazz trumpet in between 1.39 & 2.02 to create a subtle feel effect.

At 1.48, AAB (desperation feel).

From 2.03 onwards, Shreya's low pitched ALTO vocals arrive and it a totally different attempt from her, courtesy due to Himesh-the composer.

From 2.05 to 2.07, chahiyEEEEE (slight voice deepening).

From 2.13 to 2.14 & 2.34 to 2.36, YEEEEEEEE (prolonged voice deepening, halke se kick)-EEEEAAAA (profound down twist).

From 2.21 to 2.30, Shreya's vocals are subtle and soothing.

Between 1st & 2nd stanza, the classical tabla beats along with raga tune are back followed by the history sarangi instrument tune (which plays faintly in the background of both stanzas).

2nd stanza

From low pitch to high pitch, Himesh is a master of such.

Shreya sings in high pitch and is complimented well by trumpet tune sur in between 3.04 & 3.20

From 3.24 to 3.27, mil ke jatadeEEE (prolonged voice deepening) – EE (down 2 notes) - EE (down 2 notes) AAAA (terrific feel).

At 3.29, koi NAAAAAAA (profound classical feel twist).

Himesh's lines from 3.58 to 4.04 get the listener into the groove due to the continuous twist manner in which they are sung.

Himesh's line NAAA (terrific profound / zabardast feel and passion emphasis twist) at 4.08 is his standout line.

From 4.12 to end, CHAH (feel good voice deepening) YEEEEAA (prolonged soothing feel).

Highlights of this song:

1. The history Sarangi effect is best instrument and terrific selection. A mention of its quality as well and its last two hits are terrific.

2. The voice deepening, finishing twists, sudden high note/s and twists-n-turns wherever mentioned.

3. The raga tune and classical tabla in stanza gaps.

4. The trumpet tune sur in stanzas.

5. The finger snaps that that maintain the subtle laidback feel and mood of the song.

The song is a borderline of semi - classical (music arrangement notably tabla n raaga) and shariyana ghazal (lyrics n vocals) as it has few elements of both n neither outweigh each other to dominate in terms of genre.

Teri Meri Dosti Ka

The song begins with a lovely piano piece in unplugged mode until 0.23

From 0.23 onwards, the underlying subtle laidback beats ensure that proceedings begin with 'thehrav'.

From 0.31 onwards, Shreya comes out for a mesmerizing outing with refreshingly melodious feel just like a fresh blast of chilled morning breeze.

From 0.35 to 0.37, asMAAAAAAAAAN (prolonged slight deepening).

From 0.44 onwards, Himesh's knife-edge vocals on lines JAANE KAHAAN, PAL PAL YAHAAN, WOOOO (passionate feel with echo effect) are out-of-this world.

The jingle chimes behind Himesh's lines give a majestic effect.

The metal guitar (from 0.51 to 0.52 & 1.07 to 1.08) after Himesh's line WOOOO gives complete effect.

From 1.13 to 1.18, Himesh fully expresses himself with high-pitched lines JAANE KAHAAN (terrific tonal quality, voice fades away slowly) as if the hero who is standing at the tip of a mountainous region / pahadi ikala, conveys that there are no limits/boundaries of friendship.

From 1.21 onwards, things become bright and peppy with violin piece and metal guitar, and the tempo of song changes when rhythmic beats kick in from 1.29 onwards.

Shreya's line, WOOOOW (utter soothing feel) from 2.00 to 2.03, followed by the metal guitar.

Shreya's lines DOSTI KA from 1.50 to 1.52 & FAASLE JHO from 2.05 to 2.06 are is great feel good melody.

Himesh's line OOOOOOOOW (sheer soothing feel) from 2.16 to 2.19

Between mukhda & 1st stanza, the violin piece plays.

1st stanza

The likeable synthetic piano tune sur gives good company to Shreya's feel good vocals.

Shreya's lines, KHILA-(halke se feel voice rise)-AAAAA (voice deepening) from 2.39 to 2.42, PEEE (quick down twist) at 2.48, YAKEEEEN (voice deepening followed by deliberate shake) from 2.50 to 2.51, MILAAAAAAAA (deliberate voice shake) from 2.56 to 2.57

Shreya's lines so far are the build up part.

Himesh' completes the kill to this build up effect with his contrasting sufi-rwak high-pitched nazal lines TERA YAKEEN LE CHALA MU (down twist) JHE along with simultaneous 1 single beat hit from 2.57 to 3.00 (HISTORY).

Between 1st & 2nd stanza, the violin piece plays along with metal guitar.

2nd stanza

The likeable synthetic piano tune sur gives good company to Shreya's feel good vocals.

Shreya's lines, SUHAN (gradual soothing voice rise) AAAAAAAAAA (prolonged voice deepening with deliberate shaking) from 3.37 to 3.40, BAHANA (halke se feel twist) AAAAAAAAA (deliberate voice shake) from 3.53 to 3.54

Himesh' completes the kill to this build up effect with his contrasting sufi-rwak high-pitched nazal lines JAYE YAHAAN SE MERA SAFA (down twist) AR along with simultaneous 1 single beat hit from 3.54 to 3.57 (HISTORY).

Himesh's line, JAANE KAHAAN (TERRIFIC delayed 2 echo effect) from 3.59 to 4.04

Himesh gives it his all in unplugged mode high pitched line's JAANE (passionate feel) KA- HAAAAN (HISTORY ADDITIONAL WHEEZ / TONAL QUALITY) from 4.11 to end, whose frequency strikes a chord with inner soul of listener.

Highlights of this song:

1. Himesh's high-pitch nazal singing that just blows away the listener, the contrast without which the song would sound line a jingle melody and hence his lines are USP.

2. Shreya's melodiously feel good vocals.

3. Violin tune, chimes, metal guitar and 1 hit beat behind Himesh's stanza lines MUJHE & SAFAR.

4. Synthetic piano tune sur in stanzas.

5. The additional striking wheez in Himesh's unplugged line kaHAAN from 0.14 to 0.18 & 4.13 to end.

Himesh - the singer, take a bow due to the variation in tonal quality of his characteristic sufi-rwak singing.

One feels that greater things could have been done with this song if Himesh would have gone a level ahead with his musical form, because the part from start to 1.20 calls and Himesh's lines/vocals are top notch.

Where the law of averages catch up is the violin piece, underlying rhythm and Shreya's feel good lines in terms of composition pattern.

If the music arrangement from 1.21 could be reworked to be different to complement the magical outing from start to 1.20, and the composition tune of Shreya's lines was somewhere near to his signature best, then this song had the potential to be out of this world!

Damadji

The song starts with old-style dholak/drum beats and the harmonium piece joins in later along with a raga instrument.

The dhol beat along with string based instrument is great from 0.39 to 0.48

From 0.49 to 1.44, Kailash croons some typical traditional styled lines (feel good melody), with emphasis on line DAMAD JIIIIII (emphasis twist) at 1.17 & 2.20

From 1.07 onwards, the underlying traditional beats kick in.

From 1.45 onwards, the classical tabla pattern plays along with intermittent ghungru/payal beat followed by a TERRIFIC raga tune from 1.48 to 1.52

Himesh's line KA (lower bazz octave) BHI at 1.51 & 1.57 is followed by VAADA TENU (AKS) styled harmonium from 1.54 to 1.58

At 2.05, kya mazaak HAI-UN (classical ustad style).

Himesh's line, TUM NE (innocent sweet, bhaut imandaari aur shiddat se gaaya hai) from 2.10 to 2.12 will bring a smile on da listener's face.

The raga tune used to good intermittent effect in the mukhda lines.

Until this point things take a chill-pill and on a subtle note whereby Himesh sings in KITNA PYAR KARTE HAIN (BANARAS) styled voice.

From 2.14 to 2.24, there is sudden adrenaline rush as Himesh's high-pitched voice arrives with an additional WHEEZ that was also there in unplugged end part of TERE MERI DOSTI.

Himesh's lines, KAHE TOSE NAINA LADAYEEEE (sufi-rwak voice, TERRIFIC tonal quality) REEEEEEE (twist) - EEEEEEE (quick classical voice shake/shiver that drives berserk) from 2.18 to 2.20, LADAY (halke se classical twist) EEEE REEEEEEE from 2.22 to 2.23, EEEEEEE (quick classical twist that shakes up the listener and drives berserk) from 2.24 to 2.25

Things take a chill pill again from 2.26 to 2.31, with emphasis on Himesh's lines ULJHE (sooth) & HAAAAAAAI (prolonged soothing).

Between mukhda & 1st stanza, a harmonium piece plays followed by traditional folk Rajasthani tune and beats that give great overall effect.

1st stanza

The classical tabla pattern and raga tune is used to good effect.

Himesh sings with innocent sweet vocals with emphasis on HAAI (ustad emphasis) from 3.11 to 3.12, FAASLE YAAN (classical ustad) from 3.14 to 3.15

Things take a chill-pill from 3.11 to 3.31 followed by sudden rush of adrenaline from 3.33 to 3.44 followed by chill pill again from 3.45 to 3.47

Between 1st & 2nd stanza, more traditional folk Rajastani tune plays followed harmonium piece play along with traditional styled beats.

2nd stanza

The classical tabla pattern and raga tune is used to good effect.

Himesh sings with innocent sweet vocals with emphasis on RAAZ (soothing feel) at 4.48

Things take a chill-pill from 4.33 to 4.53 followed by sudden rush of adrenaline from 4.56 to 5.06 followed by chill pill again from 5.07 to 5.10

From 5.27 to 5.53, Himesh sings along with the traditional folk beats.

From 5.54 to 5.59, the dhol beats are great.

From 5.59 to end, Kailash croons his best lines with emphasis on LATH (quick twist) AAAA at 6.01, JEEEEE (feel good emphasis twist) 6.04 & NI-HARE (emphasis) at 6.17

Highlights of this song:

1. KAAHE TOHSE NAINA LAAGAYE (additional striking wheez) REEEEEE * 2 (classical voice shake/shiver) is the highlight.

2. Himesh's mixture of middle-to-lower octave innocent subtle vocals and sudden high pitch vocals (he is a master of such).

3. Kailesh's feel good traditional folk styled singing tailor made for this song, couldn't be a better choice!

4. Unplugged dhol beat, harmonium, raga tune, rajasthani folk tune and underlying traditional folk beats.

Himesh-KAILASH COMBO RWAKS just like they RWAKED in UUD UUD JAAYE from VAADA, MERI CHANDI TU from SILSILAY and MEETHI MEETHI BAATAN from AAP KI KHATIR.

This song contains both non-nazal middle octave (KITNA PYAR KARTE HAIN – BANARAS & EK HASEENA THI – KARZZZZ) voice and also his usual sufi-rwak high-pitched voice.

Shaam Ho Chali Hai

The song begins with a synthetic piano tune.

The beat is very new-age and cutting-edge.

From 0.12 to 0.37, a subtle metal guitar plays followed by keyboard tune and it really sets the under tone for the song.

Himesh sings in a very subtle soothing feel voice.

At 0.38, HAI (soothing).

From 0.41 to 0.43, 1.48 to 1.51, mere rehNAAAAAAA (prolonged voice deepening) AAAAA (up twist).

At 0.50 & 1.10, OOOOOOO (history composition notes).

At 0.56, mein AURA (terrific lower octave twist).

From 1.01 to 1.03, yeh suna-PANNNNNNNN (prolonged) NNNN (feelgood higher note).

From 1.07 to 1.08 & 1.54 to 1.55, HEAAAA (awesome profound twist).

From 1.17 to 1.19 & 1.26 to 1.28, the touching subtle feel croons connect.

From 1.17 to 1.19, CHUTE NA CHUTE are sung with passionate feel vocals.

From 1.21 to 1.22, the high note TERI (RAHAT FATEH STYLE) UMEED HAI (twist).

From 1.32 to 1.33, HA (gentle twist) AAAAAAAI (soothing).

From 1.35 to 1.38, DEKHO (desperation feel) NAAAAAAAAAAA (prolonged voice deepening) AAAAAA (gentle higher note).

From 1.39 to 1.42 & 5.16 to 5.18, soothing feel female chorus.

At 1.43, SHAM sung with utter feel especially the SH of shyam.

From 2.06 onwards, the melodious shreya arrives with her innocently sweet vocals.

At 2.12, 2.24 & 4.08, the tune sur (3 keys) gives the desired overall melody.

From 2.15 to 2.18, nazdEE (gradual voice rise) KEYAAAAAAAA (prolonged voice deepening) AAAAAAA (abrupt up twist).

From 2.25 to 2.29, khamoshi (halke se twist) YAAAAAAAAA (prolonged voice deepening).

From 2.29 onwards, Himesh takes the song in a ghazal and shairyana andaz.

From 2.44 to 2.52, KAR (lower octave) TE HAAAIN (prolonged soothing), followed by TUNE SUR 4 keys, KHAMOSHIYAAN, HISTORY.

From 2.53 to 3.12 & 4.50 to 5.10, female vocals sing in a higher pitch along with Himesh giving overall melodious effect.

Between 1st & 2nd stanza, a pleasant new age flute piece plays which is soft on ears.

2nd stanza

From 4.05 to 4.06, NAHI (innocent sweet desperation emphasis).

At 4.12 to 4.14, saath HA (high note) EEEEEEEEE (prolonged deepening).

At 4.24 to 4.27, paas HE (high note) EEEEEEEEEE (prolonged deliberate voice shake).

From 4.41 to 4.50, SAATH (lower octave) HAAAI (prolonged soothing), followed by TUNE SUR 4 keys, WOH PAAS HAI, HISTORY.

Highlights of this song:

1. Himesh's high-pitched (rahat fateh style especially on high note TERI & YAHI) singing and low-octave especially with voice deepening and twists-n-turns.

2. Shreya's innocently cute melodious vocals.

3. The cutting-edge new-age beat, the pleasant new-age flute piece, the 4 key tune sur in the stanza lines, synthetic piano piece and subtle metal guitar at start.

4. Subtle feel female croons, additional female vocals and female chorus.

Rafa Dafa

One does not really expect such a song from Himesh therefore it is a pleasant surprise, just like Himesh threw one in form of Tumhi Se in Chup Chup Ke.

It is a never before heard attempt from Himesh and actually showcases his new so-called definite middle bazz octave voice.

Where this song scores is in the overall treatment of the music arrangement whereby the beat pattern is the instrumental USP and gets the listener into the groove.

Underlying beats SPIN IN AN OFF-DA-HOOK REPETITIVE LOOP (similar to the underlying ones in MANGO from DAMADAMM in terms of pattern).

The saxophone from 0.24 to 0.30 & 0.36 to 0.41 adds a pleasantly likeable seductive touch.

The string instrument does a good job from 0.17 to 0.29

From 0.53 to 0.55 & 1.15 to 1.18, the keyboard flick is great and Himesh sings in middle octave from here on.

Himesh's lines, KAAAAA (soothing feel) from 0.50 to 0.52

Between 1.07 & 1.24, the female vocals accompanying Himesh give a soothing effect.

Between mukhda & only stanza, the string based instrument is followed by likeable gradual rise and descent in the saxophone pattern.

Himesh sings the stanza in similar non-nazal middle octave vocals in EK HASEENA THI from KARZZZZ.

The composition pattern and vocals of Himesh's lines HAI-AI-AI, KHUSHI-II-II, HI-II-II & BHI-II-II in between 1.56 & 2.10 is casual feel good.

Himesh once again sings the mukhda in his definitive middle bazz octave along with accompanying female vocals.

Highlights of this song:

1. Showcase of Himesh's new found middle bazz octave vocals.

2. Soothing female vocals.

3. Gradual rise/flicks of saxophone, and the string based instrument.

4. The underlying beat which is the song's USP.

In times whereby Himesh is accused of repetition, such a new attempt is welcome any day anytime.

Talking about the melody in 'composition structure', firstly it is unheard before and secondly it is 'ordinarily average' as far as typical unique Himesh melody is concerned.

Himesh as a singer curbs all his natural aggressive instincts of his sufi-rwak singing style and sings in a 'restrained' mode with a casual singing approach.

He hardly touches the highest notes and rather stays in his so-called definitive middle bazz octave.

That is where the composition style comes in handy as it allows to showcase Himesh's new singing style.

Therefore, more than the melody of tune itself, it is the music arrangement and Himesh's composure as a singer that does the trick and shows a new facet of him.

Pyaar To Hua Tha Tujhse

This song has a combo mix of both himesh's old Sufi Rwak voice and new Radio voice.

Himesh starts with his new Radio voice.

Himesh's lines from 0.20 to 1.12 are sung in his new Radio voice with middle octave impact and soothing feel, with a touch of innocence.

The rising notes in lines TUJH-SEEE from 0.21 to 0.23, MEEE from 0.27 to 0.28, THAAA from 0.31 to 0.32, MEEE from 0.36 to 0.37, ZINDAGI-SEEE from 0.48 to 0.50, SEEE from 0.53 to 0.54, JAAN from 1.07 to 1.08, HAAN from 1.10 to 1.11 come from Himesh's old school of music (pre-ABA).

Himesh's lines, BHAUT BITTER THA (very sweet) from 0.50 to 0.52

Himesh Reshammiya – the Sufi Rwak singer basically cannot help himself, can he?

His natural instincts get the better of him and he returns to his old Sufi-Rwak voice in high pitch from 1.13 to 1.26

Himesh goes fulltu and fully expresses himself on gradually rising notes from 1.19 to 1.26, as also depicted in the video.

Himesh's line, BAAP KA-AAAAA (slow dying effect with an arrogant touch) from 1.25 to 1.26 is a trademark finishing touch in his Sufi-Rwak singing, also similarly used in line TANHAIY-AAAAN from 1.22 to 1.23 in TANHAAIYAAN (slow dying effect with an arrogant touch) from AAP KA SUROOR – THE MOVIEE, and line PARA-RAAAA (slow dying effect with an arrogant touch) from 2.08 to 2.09 in OH HO SANAM REMIX from DASAVATHARAM TAMIL.

Highlights of this song:

1. Both voices are on display.

2. Radio voice with middle octave impact and sooth feel.

3. The pre-ABA styled rising note pattern.

4. The fulltu high-pitched Sufi Rwak lines with trademark finishing stamp in line TANHAIY-AAAAN.

Verdict

There is no doubt that when himesh reshammaiya composed music for Radio he kept the soundtrax of BANARAS and the song EK HASEENA THI from KARZZZ (singing style) and KUCH MEETHA HO JAAYE (composition) in mind.

Himesh was badly deterred from experimenting after the fate of these albums but there wasn't to be a hattrick and kudos to HR for this attempt. However, the sensibilities of Himesh - the composer are great as he played absolutely safe for his first 2 songs Mann ka radio and Kabhi happy karde as both these have the mass commercial appeal. The experimention of class started after these 2 songs with awesome results.

Kudos to Himesh due to:

1. Guts to experiment and create a new sound.

2. Album exceeds expectations.

3. Variety in terms of different genre.

4. Pleasant unexpected surprise to find classy numbers in a movie whose theme is targetted towards today's urban youth, hence a full on peppy score was expected on the cards otherwise.

The best remix was of Piya jaise laadu and the calypso beat rwaks. It is an awesome combination and a unique number that adds on to the fantastic list of AANE DO - ROYAL STAG MEGA MIX from KUCH MEETHA HO JAAYE and TERI GALIYON SE from MAIN AISA HI HOON.

In terms of Himesh's new voice, the most is in teri meri dosti, sham ho chuki and damadji.

The biggest obstacle/s this soundtrax faces:

1. The classy semi-classical numbers like Koi Na Koi, Damadji & Piya Jaise Ladoo that have limited mass appeal in terms of musical shelf life.

2. The laidback music arrangement along with subtle vocals take out the zing, i.e. if Jaaneman could be arranged with heavier rhythmic beats then it could be many notches higher.

So, in a nutshell 'voice taking precedence over minimal instruments' is not Himesh's success mantra as one critic put it.

Himesh fans know where the word sufi "RWAK" originated from.

Even in pre-ABA era, Himesh's instrument effects were always a musical treat.

Having said that, such an experiment is welcome for a change.

My Picks

1. Shaam Ho Chali & Teri Meri Dosti (tie).

Teri Meri Dosti

The underlying laidback beats along with vocals from 0.27 to 1.23 is nostalgic fairy tale stuff. Himesh's vocals, JAANE KAHAAN WOOOOW (along with majestic jingle chime effect) from 0.46 to 0.54, 1.02 to 1.09 & 1.16 to 1.22 are OUT OF THIS WORLD. Just when the listener is lost into da extacy of da serene world, the song changes tempo from 1.24 onwards upon arrival of underlying rhythmic beats and violin theme piece that actually play da SPOILSPORT. How one would have wished that this previous mood could have been maintained throughout the song. In 1st stanza, Shreya's lines from 2.31 to 2.59 are the BUILD UP part followed by Himesh's lines TERA YAKEEN LE CHALA MUJHE (HISTORY) from 3.00 to 3.02 that deliver VOCAL KILL EFFECT, CONNECT EMOTIONALLY and WIN OVER DA LISTENER. In 2nd stanza, Shreya's lines from 3.29 to 3.57 are the BUILD UP part followed by Himesh's lines JAYAE YAHAAN SE MERA SAFAR (HISTORY) from 3.58 to 4.00 that deliver VOCAL KILL EFFECT, CONNECT EMOTIONALLY and WIN OVER DA LISTENER. Himesh's lines, JAANE KAHAAN (OFF-DA-HOOK fulltu high-pitched with an ADDITIONAL WHEEZ) throughput the song and also right at the end in unplugged mode from 4.14 to end, just blow away the listener

Shaam Ho Chali

This song would have sounded great in Sunithi's vocals. 

2. Mann Ka Radio.

The female vocals from start to 0.11 along with guitar riffs are CULT. Himesh sings in middle octave with his new-found vocals. The underlying rhythmic beats kick in from 1.20 onwards whereby the KEY effect to Himesh's vocals is delivered by fluctuating bazz guitar riffs from 1.20 to 1.47. An additional beat kicks in from 1.48 to 2.03 & 3.49 to 4.04 that has a MYSTIC SOUND representative of a HAMMER HITTING AN ICE SLAB. OFF-DA-HOOK WICKED REBEL bazz guitar riff from 2.03 to 2.05 in unplugged mode give intermittent effect. Himesh's 1st & 2nd stanza lines from 2.42 to 2.51 & 3.31 to 3.40 are well structured.

3. Jaaneman.

Underlying beats are rhythmic laidback. Himesh softens up his vocal chords for this song. Himesh's core mukhda tag lines, JAA (OFF-DA-HOOK profound twist) NEE (OFF-DA-HOOK profound twist) MANN (OFF-DA-HOOK profound twist) from 0.14 to 0.18 are well structured. Shreya's line, JAA - NEEEEE from 3.35 to 3.37 gets MELODIOUSLY HEAVY on da listener. Check out da GOONJ / DEPTH in Himesh's unplugged line MANNNNNN from 4.00 to end (as opposed to his SHARP KNIFE-EDGE Sufi Rwak vocals).

4. Koi Na Koi Chahe.

5. Piya Jaise Ladu & Damaadji (tie).

Damaadji

Kailesh Kher's vocals add authenticity to da proceedings. TERRIFIC raga tune from 1.52 to 1.55. Himesh's line, TUM NE (awesome innocent feel) from 2.09 to 2.10. Himesh's lines KAHE TOSE NAINA LAGAAYE RE from 2.17 to 2.28 have SHARP KNIFE EDGE vocals, with emphasis on REEEE (profound quick twist) from 2.27 to 2.28. Himesh's lines from 3.13 to 3.33 in 1st stanza and from 4.37 to 4.57 in 2nd stanza are sung with subtle innocent feel.

6. Rafa Dafa.

Underlying beats SPIN IN AN OFF-DA-HOOK REPETITIVE LOOP (similar to the underlying ones in MANGO from DAMADAMM in terms of pattern) are the instrumental USP of song. Himesh sings with middle octave vocals and touches some notes in the lower bazz octave with his new found singing style / voice.

7. Zindagi Zaise Ik Radio

There are similarities between this song and UMRAO JAAN from DAMADAMM as both songs have an interior downtown Punjabi flavor which celebrates 'Punjab ki mitti ki khushboo', full on foot tapping energetic dhol beats, typical peppy Punjabi theme piece tune and female rap vocals, and both are slotted at no.2 in their respective albums.

Jaaneman - Karaoke

This karaoke is a failed attempt because its creator couldn't completely get rid of the vocals, plus they are also out of sync.

But still regardless of that, Himesh's n Shreya's faint background vocals sound quite catchy, which shows that the tune of this song was melodious.

Somehow, i would call this the ETERNAL version of Jann E Mann, because espite being so amateurish, it has an eternal konnekt due to the faint backdrop vocals, as if the lovers souls meet outside the doorstep of heaven.

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