dashavatar

Music review analysis of Himesh Reshammiya's album Dashavatar (2008).

Koi Tumsa

First things first, Kamal Hassan rwaks and heartfelt thanks to him for letting HR compose in his Magnum Opus project and make his presence felt in the south.

HR allows Vineet to take centre stage with this song which is a deadly combination of western musical arrangement plus rap vocals and classical singing including female chorus.

The sound opens with a groovy bazz sound followed by feel good male vocals in English.

The underlying beats were also used in TERA SONA SONA ROOP from SHAKA LAKA BOOM BOOM.

The female chorus give a profound classical touch to this song at 0.32 to 0.34, 0.40 to 0.42.

From 0.44 onwards, funky underlying western instruments behind vineet's vocals

The lines from 1.07 to 1.18, 1.30 to 1.44 are taken from WHY DOES IT HAPPEN IN LOVE from DIL MAANGE MORE. The tune sur at 1.05 and 1.28 is effective and so is the bazz trumpet behind these lines.

Vineet's lines AALAM (high note) at 1.39 and WELCOME (feel good) from 1.42 to 1.44
Between mukhda and 1st stanza, the east-west combo of male English vocals and raga instrument is fantastic.

1st stanza

Vineet adapts a classical approach and the raga instrument from 2.06 to 2.12 helps him in this cause.

From 2.22 to 2.32, more traditional Indian instruments play.

The song picks from 2.40 when a deadly techno instrument plays until 2.50, with special emphasis from 2.42 to 2.44

Between 1st and 2nd stanza, the new-age sound from 3.12 is awesome and note the way the bazz sound fades away with a dying effect at 3.16, followed by more new-age sound and peppy beat pattern from 3.16 to 3.30. What follows is a new-age classical instrument accompanied raga tune and English male vocals. This is awesome combination. The 3 key raga tune (normal, up 2 notes, up 2 notes) from 3.51 to 3.52 is also great launch pad for 2nd stanza.

2nd stanza

Vineet adapts a classical approach and the raga instrument from 4.11 to 4.17 helps him in this cause.

From 4.00 to 4.10, more traditional Indian instruments play.

Emphasis on Vineet's line SAAAAAAN (super classical twist) SAR from 4.23 to 4.24

The rwaking techno instrument is back again from 4.25 to 4.35, with emphasis at 4.30.

HR reserves the best for the last.

Emphasis on Vineet's lines AA-AA (high note)-LAM with echo effect from 5.02 to 5.03.

Emphasis on Vineet's lines TUMHARA WELCOME with echo effect from 5.06 to 5.08

Emphasis on Vineet's lines AALAM (MIND BLOWING prolonged feel good twist) from 5.10 to 5.11 followed by quick abrupt SARE

Emphasis on Vineet's lines WEL (prolonged highest note) COMEEEEEEEEE is UNBELIEVEABLY INCREDIBLE and strikes a chord with a listener.

The bazz trumpet effect behind these lines also gives some sike.

HR just completely kills it when he asks the western male rappers to belt out some pure classical alaaps that create a HELL LOT of SIKE, get the ADRENALINE FLOWING and really play around with the listeners pulse until he completely feels it with this one! The key is also the female classical croons along. HR, TAKE A BOW!

Highlights of this song:

1. The unique east-west combo with outstanding results.

2. The foot-tapping underlying beats, male rap vocals and female classical croons.

3. The raga instruments and western techno instrument.

4. Vineet's feel good vocals in mukhda and classical singing in stanzas.

Om Namo Nayaran

When the name of the album is grand like Dashavatar and it is called MAGNUM OPUS, there has to be a number that would make some impact.

The sound engineering, music arrangement and orchestration have to be heavy and HR succeeds in creating such a sound.

The song starts with bells and shank sound and haunting effect.

Hariharan is the perfect choice for this song.

The theme raga tune plays from 0.32 to 0.42 in unplugged mode along with background bazz trumpet.

The main heavy beats kick in from 0.43 and their pattern is just OFF-DA-HOOK. There are 2 specialties of the beat. Firstly the tremendous SKIP from 0.43 to 0.44, and secondly the heavy part from 0.45 to 0.46

From 0.51, when the traditional male vocals kick in, the beats give lot of SIKE especially the SKIP PATTERN at 0.53, 0.58, 1.03, 1.08 and the shank makes its presence felt as well.

Hariharan sings the mukhda in a slightly higher pitch.

The haunting background male chorus from 1.42 to 1.51 makes an impact.

Between mukhda & 1st stanza, the BAZZ male vocals deliver a statement and the KEY for SIKE purposes is the beat SKIP PATTERN at 1.53, 1.58, 2.03 & 2.08

The haunting male vocals return in unplugged mode followed by traditional flute.

The GRAND sound from 2.20 to 2.23 is just MIND BLOWING for impact purposes. HR take a bow!

From 2.13 to 2.31, the key is the build up of groovy subtle instruments, vocals and flute 'before and after' the SUDDEN impact with the grand instrument in between.

1st stanza

Hariharan sings subtly in low pitch along with haunting male vocals in unplugged mode followed by sudden high pitch.

This is a very familiar pattern in HR's sufi-rock songs (most notable reference is HR's low-to-high pitch variation from 0.27 to 0.57 in KOLA LAKA VELLARI from WELCOME) and HR asked Hariharan to do it as well.

Between 1st & 2nd stanza, more groovy instruments along with shank play, followed by raga tune. The KEY is the 3.34 to 3.54, are the UNDERLYING HEAVY SOUNDS that pluck away repeatedly in quick pattern. The male chants from 3.56 to 4.04 again make a profound impact.

2nd stanza

Hariharan sings subtly in low pitch along with haunting male vocals in unplugged mode followed by sudden high pitch.

Highlights of this song:

1. The underlying beat that has a profound beat skip pattern followed by heavy pattern.

2. The grand majestic instruments, shank, flute, temple bells and raga tune.

3. Haunting male vocals that make an impact.

HATS OFF to the ORCHESTRATION which is a new attempt by HR.

Oh Ho Sanam

This is a stage song so it starts with audience cheers.

Shaan is the perfect choice for this song.

The composition is very catchy and comes from HR's old school of music.

Shaan starts off with subtle vocals with feel element.

The peppy beat kicks in from 0.30 followed by a Punjabi flavored beat and new-age metal guitar.

The intermittent beat effect from 0.55 to 0.57, 1.12 to 1.14 is great.

Shaan sings the lines OH OH SANAM and subsequent lines in bindaas vocals.

Emphasis on line gum ho CHA (high note) HE ho khushi

The composition pattern on lines SUR-TO-JAAN MOSQUI (fantastic lyric) is very catchy.

Emphasis on Shaan's singing TA-AA (subtle feel good) from 1.28 to 1.29, 1.33 to 1.34.

This is par-excellence singing and very TYPICAL if HR would have sung this song.

The female chorus UU UU is awesome especially from 1.34 to 1.36

The line SADA-AAA (2 notes up)-AAA (1 note down) at 1.36 is typical HR composition.

The female chorus gives good company to Shaan on the lines OH OH SANAM.

Between mukhda and 1st stanza, Punjabi dhol beats play along with Punjabi flavored tune along with underlying bazz sound.

1st stanza

It is simple yet effective composition with feel good shaan's vocals.

The female chorus UUU create great overall sooth effect from 2.33 to 2.38.

The word HUM (prolonged)- UM (low twist) at 2.35 is very much from HR's sufi-rock song bank.

The OH HO from 3.08 to 3.09 is very naughty.

Between 1st and 2nd stanza, Punjabi flavored tune and dhol beats along with energetic Punjabi male vocals. The harmonica tune that follows is likeable and the whooshing effect followed by new-age sound from 3.32 to 3.35 is awesome.

2nd stanza

Mahalakshmi Iyer's sings with high-pitched melodious vocals.

The female chorus UU (normal) UU (1 note low) UU (1 note low) from 4.12 to 4.13 is fantastic.

Shaan spins out some patriotic vocals and his SHAAN, and his JAAN (prolonged)- AAN (low twist) at 4.16 is very much from HR's sufi-rock song bank.

Iyer's follow up vocals have an emotional feel to them, and the accompanying female chorus UUU is fantastic especially behind her lines SUR HAI BEZUBAN KI. A special mention for the continuous metal guitar also.

Emphasis on Iyer's line SAAAAR(classical twist)GAM from 4.29 to 4.30

The song finishes on a bright note with both all vocals joining in, along with metal guitar and 3 key descending tune sur at 4.43, 4.48, 4.53, 4.58 and the song ends with a profound mixture of bazz sound and guitar flick.

Highlights of this song:

1. HR's old shool of melody in terms of composition pattern and elements, with slight traces of sufi-rock twists.

2. Soothing female chorus, new-age metal guitar, intermittent beat effect, male rap and dhol beats.

3. Shaan's bindaas vocals and Iyer's melodious vocals with feel aspect.

Mukhunda Mukhunda

This song showcases the class and adaptability of HR – The composer.

The song starts with sitar tune followed by fast matka beats and a traditional flute tune.

A raga tune is then followed by female chorus theme piece with feel factor and underlying traditional beats with a very free-flowing pattern that were similarly used in DEEWANAPAN DEEWAANGEE from MAIN AISA HI HOON.

The composition pattern of lines MUHKUNDA MUKHUNDA & VIRINDA VIRINDA is very well structured.

The lines MUJHE DAAN ME DE are melodious.

The awesome traditional flute gives good tune sur at 1.10, 1.15, 1.32 & 1.37

The sitar at 1.21 & 1.26 catches the classical pulse of the listener.

Between mukhda & 1st stanza, fast paced south Indian tabla beats play followed by sitar tune and pleasant female chorus. The theme piece female chorus croons again along with free-flowing traditional beats.

1st stanza

Sadhana's sings with melodious vocals, with emphasis on lines GYANI DHYANI (high pitched melody) from 2.45 to 2.47, AN (halke se feel) TAR at 2.47, ME MIL JAAYE (striking high-pitched melody) from 3.00 to 3.01, VIGYAAN (highest note, BEST MELODY) from 3.06 to 3.07

The sitar piece from 2.49 to 2.54 enhances the traditional classical feel of this song.

The sitar and flute has good intermittent effect in lines.

The composition pattern from 3.17 to 3.28 is well structured, along the subtle traditional piece which is of great cause.

Sadhna's lines, KOO (classical twist) from 3.26 to 3.27 & AATMA (profound classical twist) from 3.28 to 3.29

Between 1st & 2nd stanza, the tune pattern of sitar along with matka and tabla beats is likeable. The theme piece female chorus croons along with underlying free-flowing traditional beats.

2nd stanza

Sadhana's sings with melodious vocals, with emphasis on KO (highest note, BEST MELODY) at 4.55, RAADHE KA MAN CHURAAYA (high-pitched striking melody) from 4.58 to 5.01

The traditional flute piece from 4.37 to 4.42 enhances the traditional feel.

The sitar and flute has good intermittent effect in lines.

The composition pattern from 5.03 to 5.14 is well structured, along the subtle traditional piece which is of great cause.

Sadhana's lines, MATHE (halke se feel) from 5.15, MUKH-UUN (halke se feel voice rise) DA from 5.28 to 5.29

Kamal Hassan's wicked (granny) vocals are bound to make the listener laugh especially the lyrics COUGH, GOVINDA, COUGH, GOPALA, CLEARS THROAT, HEH. Lolz, ballz r us, yo!

The listener can just about second guess that HR would have whispered the lines AAJA AAJA, JHALAK DIKHAJA into Kamal Hassan's ears.

The soothing emotional feel croons of female chorus are just mesmerizing and take the overall melodious effect to another level.

Highlights of this song:

1. Very well structured song structure considering the south lyrics for Tamil / Telugu version (HR's adaptability).

2. Sadhna Sargam's well suited melodious for this traditional song.

3. The underlying free-flowing traditional beats, classical sitar, traditional flute, raga tune, matka and tabla beats.

4. The female chorus with soothing emotional feel.

HR gets hold of the pulse of the "traditional" south Indian listener with this one.

Hey Black Ho Ya White

The song starts with an international feel effect due to drum beats and African type male croons.

From 0.28 onwards, the rhythmic peppy underlying beats kick in.

The repetitive croons from 0.31 to 0.34 are great build up.

Shalini singh feel good vocals are as sweet as honey as if she ate loads of sweet flour.

The composition pattern is simple.

The lyrics are interesting mix of Hindi and English.

The repetitive lines from 1.08 to 1.15, 1.42 to 1.51 are great.

The casual lines DA RA RA RA from 1.35 to 1.36 gives a feel good kick.

Between mukhda and 1st stanza, a rising shehnayi tune pattern plays along with dhol beats.

1st stanza

Shalini sings with seductive feel vocals on simple composition pattern.

Her line WOOOO (feel good) at 2.31, COME ON (seductive) at 2.44, OH YEAH (seductive) at 2.50

The 'siskiyaan' she takes has a refreshing sizzle.

Between 1st and 2nd stanza, an oriental flute piece pattern plays along with tamil drum beat pattern.

2nd stanza

Shalini sings with seductive feel vocals on simple composition pattern.

Her line HAAAA (feel good) at 3.51, OOOOO (seductive) at 4.04, HONEY (seductive) at 4.16, KISS ME (seductive, drives beserk) at 4.23

The 'siskiyaan' she takes has a refreshing sizzle.

The song rather finishes on a deliberate sudden abrupt note.

Highlights of this song:

1. Ideal choice of female singer Shalini Singh who sounds seductive best.

2. Great feel good seductive lyrics.

3. The peppy beats, male and female croons and oriental flute.

This song is tailor made for sexbomb Malika Sherawat to do her thing.

{tab-My Picks}

1. Koi Tumsa.

2. Oh Sanam.

3. Mukundha Mukhunda.

4. Om Namo Narayan.

5. Hey Black Ho Ya White.

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