bommalattam

Music review analysis of Himesh Reshammiya's album Bommalattam (2007). This album was also released in telugu i.e. Kalidas.

Aaha Aaha

Ok frankly the original version sounds like a remix, such is the music arrangement!

The gradual build up from 0.17 onwards followed by feel good female AAHA AAHA from 0.24 onwards.

The computerized voice is great especially from 0.42 to 0.44, 0.46 to 0.48 & 0.50 to 0.52

The remix effect from 0.44 to 0.46 was similarly used from 2.40 to 2.42 in SANWAARIYA NO WAY from ANTHONY KAUN HAI.

From 1.05 to 1.09, it is typical HR melody and the BEST in the song with emphasis on the line URUDI (echo effect) from 1.06 to 1.09 & 1.15 to 1.19, mind blowing!

The feel good female vocals kick in again to have a good time.

1st stanza

It is feel good melody with bindaas vocals.

The quick computerized skip voice at 2.06 enhances the remix feel.

The line REEEEEEEEE (prolonged) EEEEEE (gradual voice lift) from 2.21 to 2.24 is similar to the female croons from 0.23 to 0.26 in AAKHIYON SE GAL KAR GAYI from SHAADI SE PEHLE "only" in terms of the pattern 'prolonged gradual voice lift' idea.

Between 1st & 2nd stanza, the tune pattern is catchy from 2.36 to 2.47 followed by a feel good tune pattern. The quick beat effect at 2.56 is great.

2nd stanza

More feel good male and female vocals follow.

The beat skip effect from 3.19 to 3.22 is awesome.

Highlights of this song:

1. Feel good vocals with happy-go-lucky vocals.

2. The remix beats, female vocals AAHA and additional beat skip effect.

3. The tunes between 1st & 2nd stanza.

Check Check

The song starts with a groovy tune pattern followed awesome beat from 0.04 onwards.

The full beats kick in from 0.09 onwards along with dodgy male croons and their hit pattern is rwaking.

The composition of mukhda lines CHECK CHECK is simple yet effective.

The female seductive vocals from 0.39 to 0.42, 1.34 to 1.37 and seductive female whisper YEAH GOTTA GET YA from 1.22 to 1.23 enhance the groovy nature of the song.

The beat effect from 1.58 to 1.59 & 4.07 to 4.08 is awesome.

Between mukhda and 1st stanza, the dodgy male vocals in unplugged mode from 2.09 to 2.13 are great build up and they give a KICK along with the sudden full beat from 2.14 onwards. The computerized male vocals with skip effect pattern from 2.18 to 2.26 are CULT OFF-DA-HOOK stuff.

1st stanza

The composition pattern is simple yet effective and goes well with the beat.

The bazz sound at 3.03

Between 1st and 2nd stanza, the song takes an Arabic approach by vocals and beat from 3.14 to 3.17 followed by groovy tune and off-da-hook computerized male vocals with skip effect pattern.

2nd stanza

The composition pattern is simple yet effective and goes well with the beat.

The song finishes with computerized male vocals with skip effect pattern.

Highlights of this song:

1. The underlying beat pattern, beat effect and groovy tune pattern.

2. The off-da-hook computerized male croons and seductive female vocals/whispers.

3. The mix english lyrics with tamil lyrics to give a new age effect.

Koyambedu Bensu

The song starts with classical traditional female vocals in unplugged mode that one would expect in the South.

From 0.43 onwards, the song unexpectedly changes course with the underlying beats comprised of bazz sound and clap effect that give a peppy feel.

The composition pattern on mukhda lines is a new attempt by HR and has a groovy feel.

The beat "instrument" used from 0.51 to 0.52 was also used in AFREEN (RED) from 2.53 to 2.54

Between mukhda and 1st stanza, the underlying beat with a laidback tempo is great followed by a well structured flute piece and an ARABIAN tune.

1st stanza

The Arabian tune that plays along with vocals gives a groovy effect.

The flute piece from 2.56 to 3.01

Between 1st and 2nd stanza, fast MATKA beats play with PAYAL effect followed by a very well structured ARABIAN tune.

2nd stanza

Himesh decides to incorporate some REAL HARD CORE ARABIAN FLAVOR by using the Arabic tune from 3.47 onwards.

The flute accompanies the female vocals from 4.30 onwards till the end.

Highlights of this song:

1. The female singer's ALTO vocals.

2. The underlying beat with clap effect to give a peppy feel.

3. The flute piece, matka beats, payal effect and classical female vocals at start that give a traditional feel.

4. All the Arabian instrument tunes that are highlight of this song.

O Nenjil Dola

The song starts with the same household string instrument (with in inherent twist) that Himesh used in beginning of KABHI NA SUKUN AAYA from KOI AAP SA and MERI NAS NAS MEIN TUM HO from DIL NE JISE AAPNA KAHA. The tune pattern is mesmerizing!

The emotional raga tune with 2 echo effect from 0.11 to 0.13 is off-the-hook.

The underlying guitar piece is awesome in unplugged mode, the repetitive pattern is so simple yet so catchy. This is great build up.

The main beats from 0.18 are sure have some kick in them.

The additional fast drum pattern along with lines NINJ DOLA DOLIYA give overall perfect sync effect.

The female vocals from 0.35 to 0.46 are subtle with haunt effect, also courtesy due to the additional faint groovy alienish female low pitched croons.

The female vocals up twist on the lines DOLI-YAAA from 0.55 to 0.56, 1.08 has been heard also in pre-ABA songs in Alka's songs.

The female voice deepening in lines YAAAAA from 0.57 to 0.58 make a profound impact.

The lines from 1.14 to 1.15, 1.23, 1.29 (3 twists) make a melodious impact.

The soothing impact from 1.21 to 1.22

The additional male croons give interesting tune sur from 1.41 to 1.52

Between mukhda & 1st stanza, feel good tunes play along with subtle metal guitar followed by male croons and great underlying south Indian tabla beat pattern. This is followed by subtle flute piece.

1st stanza

The male vocals are all about soothing feel and subtleness.

Emphasis on lines from 2.57 to 2.58 (classical twist)

Impact melody at lines 3.16, 3.18 to 3.20

The lines at 3.40 & from 3.29 to 3.32 (heard pre-ABA).

Between 1st & 2nd stanza, note the awesome build up. Firstly the traditional south instrument plucks away in unplugged mode from 0.44 to 0.49. Then the profound underlying techno-type instrument merges in with traditional instrument so well, followed by the jhakaas beat pattern that kicks in from 3.56 and all 3 instruments play in perfect sync in combined overall effect.

2nd stanza

The male vocals are all about AMAZING soothing feel and subtleness. This is INCREDIBLE SINGING.

Emphasis on lines, SUVARGAL at 4.21 (utter sooth), MUNDAL (slight voice deepening without harming the overall soothing feel, wow) from 4.33 to 4.34, REEEEE (prolonged quick classical twist, mind blowing feel) from 4.37 to 4.38, and from 4.41 to 4.42 (up twist feel)

The nature of the mukhda lines is as such that the listener doesn't really mind them playing extended towards the end of the song.

Highlights of this song:

1. Starting build up household string instrument, off-da-hook raga tune with echo effect (cult stuff), fast paced dhol pattern, south Indian tabla, subtle flute, metal guitar.

2. The interesting mix of groovy low 'alto' female croons and semi-classical high 'treble' male croons in addition to female and male vocals respectively.

3. The build up of the starting part and the build up of the 3 instruments in between 1st and 2nd stanza one by one until they all play in sync.

4. The extreme combo of high on energy beats and vocals in mukhda's lines Oh nenjil dola and the soothing and subtle feel approach with other mukhda lines and with stanzas.

5. The penetrating melody of female vocals and soothing subtle feel vocals of male vocals.

This song exuberates FRESHNESS just like the smell of wet mud or full blast of morning air.

This song is all about class and is a musical gem by Himesh - the composer (also in the manner he manipulates the singers to get hold of the listeners pulse).

Va Va Thalaiva

This song is a journey for a South Indian listener (or any Himesh fan for that matter) in to the Prince of Persia simulation.

His goal is to reach the top (after which he will do rap dance with the sheikh in full tu Arabian style), but before reaching the top, as he climbs level by level, he will experience all groovy haunting and wicked elements on the way.

The song starts on a haunting note courtesy to bazz trumpet effect.

From 0.12 onwards, the instruments create a groovy effect and the Arabian instrument tune slowly kicks in.

The bazz trumpet at 0.36 has monstrous effect.

The underlying beat pattern is simple yet engaging and they HIT HARD (especially the 2nd hit of the repetitive pattern).

The female singer begins on a relatively subtle note but picks up after 1.02 onwards.

The sound from 1.06 to 1.08, 1.15 to 1.17 is fulltu attitude followed by great quick trumpet pattern effect.

The bazz sound effect from 1.28 to 1.29

A wicked Arabian tune plays from 1.31 to 1.33, 1.35 to 1.37

The fast pattern of Arabian beats from 1.46 to 1.53 is great and note the start-stop gap at 1.49, 1.54.

Between mukhda & 1st stanza, the groovy effect is back along with haunt feel thanks to male whicper croons.

1st stanza

After the slow dying instrument effects, the stanza starts rather abruptly and suddenly. This gives some kick.

The rebel underlying techno-bazz sound is awesome.

The change in pitch courtesy due to additional female croons from 2.34 to 2.40

The bazz sound effect from 2.23 to 2.24

Between 1st & 2nd stanza, male groovy vocals along with great drum pattern, followed by 'sunithi chauhan' type vocals.

The fast paced drum beats at 3.12 are off-da-hook and so is the 1 hit bazz trumpet at 3.25

2nd stanza

After the slow dying instrument effects, the stanza starts rather abruptly and suddenly, it is rwaking. This gives some kick.

The rebel underlying techno-bazz sound is awesome.

The change in pitch courtesy due to additional female croons from 3.53 to 4.00

The bazz sound effect from 4.02 to 4.03

A really cunning wicked dodgy tune plays in between 4.05 and 4.20

Note a gradually rising rebel bazz effect from 4.30 to 4.36

By the time the 1st bazz trumpet hits at 4.46, the listener has no other clue other than getting SIKE.

But when this one hit turns into a repetitive pattern at 4.48, 4.50, 4.52, 4.52 (and the subtle female LEJA LEJA and male RANJHNA along with subtle drum beats...this is only for JHOR KA JHATKA DHEERE SE LAGE), the listener feels HELL LOT of SIKE.

After this terrific buildup, HR kills it with fast paced drum-roll beats until the listener feeling it. After which (back to the imaginary game) the beat pattern is TOTALLY RWAKING and the listener is on the top of the palace and dancing along with the sheikh with full-tu attitude, until he just has a glimpse of the heights below him and sees all the obstacles he faced and still some evil elements are alive and waiting for him to descend...which is depicted from 5.05 onwards with the haunt effect of all instruments that follow.

Highlights of this song:

1. The bazz instrument 1 hit, the beats that hit it REAL GOOD, fulltu attitude sound, the fast-drum roll beats, bazz-techno sound, all the Arabian elements, groovy vocals,

2. The groovy haunt effect created by trumpet use and male vocals.

3. The build up and merging of all elements one by one from 4.46 to 5.11 that drives the listener berserk and gives sike (1 beat intermittent trumpet hit along with rwaking beat pattern).

My Picks

1. Oh Nenjil Dola

The household pre ABA feel good guitar riffs (with inherent twist) from start to 0.10 followed by terrific raga tune from 0.11 to 0.12 that depicts desperation plea along with a catchy underlying sound from 0.12 to 0.23 is tremendous build up of da song. BEST male lines, MUNDAL (slight voice deepening without harming the overall soothing feel, wow) from 4.33 to 4.34, REEEEE (prolonged quick classical twist, mind blowing feel) from 4.37 to 4.38 in the 2nd stanza.

2. Va Va Thalaiva

BEST part of da song is from 4.56 to end when da rwakin Arabian beat kicks in and is in full form (da beat is tailor made for da Shiekh to do his thing with fulltu attitude on da terrace of his luxurious bungalow as if he is a king of da world - fun intended).

3. Aaha Aaha Kannirendum

BEST part of song is the line, URUDI (repetitive echo effect) from 1.06 to 1.09 & 1.15 to 1.19 which is typical unique HR melody.

4. Check Check Checkda

5. Koyambedu Bensu

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