welcome

Music review analysis of Himesh Reshammiya's album Welcome (2007).

Kola Laka Vellari

This is hard core sufi rwak composition that gets into the business end "depth" of this genre.

This is a 'history' composition rather than an 'ordinary or average' composition and I will try my best to get all the reasons of why this is so.

The song straight away gets into business mode with the underlying beats that are a mixture of TADAP TADAP (DARLING) and AHISTA AHISTA TITLE TRAX.

Catchy constant guitar riffs from 0.04 onwards in the background give tune sur throughout da song.

The string based tune sur from 0.04 to 0.07 is awesome.

The heavy sufi rwak instrument at 0.08 sets the undertone of the song.

From 0.09 onwards, a hard core sufi rwak tune plays in lines of kola laka vellari.

History happens when the heavy sufi rwak instrument (whose greatness can never be understood) delivers the kill effect from 0.25 to 0.26, which can 'only' be enjoyed in total context of the overall lines from 0.09 to 0.26, as if the listener is waiting for that effect, which is like of heavy machinery equipment dropping from a height and bouncing off the ground back n forth.

From 0.27 to 0.41, more history happens when Himesh sings in his lower octave (his biggest sufi-rwak singing weapon) to emotionally connect with the listener.

Himesh's lines, YAAAAAD (gradual soothing rise of notes), CHAAAAIN (gradual soothing rise of notes), JAAAAAAN (gradual soothing rise of notes) is the key.

The AHISTA AHISTA beat from 0.31 to 0.32, 0.37 & 0.43 to 0.44 really gives a halke se kick after Himesh's bazz octave. It really does, as if "zor ka jhatka dheere se lage".

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

Himesh pours his heart out and fully expresses himself in high pitched line JAANIYA VE (OFF-DA-HOOK fulltu high-pitched) from 0.55 to 0.57.

So basically these lines so far are showcasing the RANGE of Himesh – the sufi rwak singer.

Off-da-hook heavy sufi rwak instrument plays at 0.58 to give sahi desired effect.

From 0.59 to 1.15 & 1.42 to 1.58, the lines KOLA LAKA VELLARI are hummable.

One of biggest success of Himesh's sufi-rwak compositions is to include Mr.Tabla that is Indian Rashan Card holder.

The fast-paced tabla plays from 1.20 to 1.22 & 1.26 to 1.28 to give sahi desired effect.

Himesh's line, HAAI (soothing halke se feel) at 1.26

Between mukhda & 1st stanza, the hard core sufi rwak tune plays.

The composition structure of stanzas in terms of 'melody' is hummable and laidback but the key is that it connects and Sameerji's uncomplicated déjà-vu rhyming sufi-rwak lyrics compliment the casual singing style. In totality, it is just what the doctor ordered.

1st stanza

The key is the heavy sufi rwak instrument effects at 2.11, 2.28, 2.45, 2.59, 3.07 & 3.24 along with underlying beats and Himesh's vocals.

Himesh sings in a casual sufi-rwak style with MIDDLE OCTAVE impact backed up with good echo effect on SLOGAN type lines SAMAH (awesome twist) from 2.18 to 2.20, 2.35 to 2.37,, BAYAN (OFF-DA-HOOK middle octave impact vocals with echo effect) from 2.26 to 2.28 & 2.44 to 2.46

Himesh's line, HAAI (soothing halke se feel) at 3.18

Between 1st & 2nd stanza, a new age groovy tune plays in a repetitive manner from 3.25 to 3.29 followed by hard core sufi rwak tune plays. Note its build up in a 3-step repetitive manner from 3.30 to 3.36 that gives HELL LOT of SIKE and gets the ADRENALINE FLOWING. Note the WICKED PATTERN of the tune from 3.36 to 3.37 after which the KILL EFFECT is delivered by heavy sufi-rwak instrument from 3.37 to 3.38. Uffff, Himesh is playing big time with listener's pulse, HISTORY, OFF-DA-HOOK CULT stuff this.

2nd stanza

The key is the heavy sufi rwak instrument effects at 3.46, 4.03, 4.21, 4.34, 4.42 along with underlying beats and Himesh's vocals.

Himesh sings in a casual sufi-rwak style with MIDDLE OCTAVE impact backed up with good echo effect on SLOGAN type lines BETABIYAAN from 3.53 to 3.55 & 4.11 to 4.12, KHAMOSHIYAAN from 4.02 to 4.04 & 4.19 to 4.21

Himesh's line, HIIII (emphasis) at 3.59 & 4.16

Himesh's line, HAAI (soothing halke se feel) at 4.53

Himesh reserves his best for the last.

Himesh's splits up the words KO - LA (very effective), LAKA (slight twist), VELLA-RI (awesome middle octave emphasis) from 4.56 to 5.04

From 5.05 onwards, the string based tune sur in unplugged awesome 1 bit beat mode sets up the history to unfold.

From 5.05 to 5.17, off-da-hook catchy guitar riffs in semi plugged mode give terrific scale to Himesh's HISTORIC lower bazz octave vocals.

From 5.07 onwards, Himesh goes 'inner soul searching' with his lower octave vocals.

Emphasis on TUJHE YAAA (profound middle octave impact) at 5.08, YAAAAAD (gradual soothing rise of notes) at 5.08, CHAAAAIN (gradual soothing rise of notes) from 5.12 to 5.13, MERE (maximum lower bazz octave impact) at 5.16, JAAAAAAN (gradual soothing rise of notes) at 5.17

Himesh's line, MERE JAANIYA VE (HISTORY composition notes) from 5.16 to 5.18

After this HISTORY build-up, the ultimate KILL EFFECT happens from 5.18 to 5.20 with heavy instrument that just HITS IT and gives HELL LOT OF SIKE (HISTORY).

The way Himesh croons KO from 5.29 to 5.30, the listener wants to catch his chin and say Himeshji, kya hai! [fun intended]

Highlights of this song:

1. The two heavy sufi-rwak instruments (whose greatness can never be understood) that play throughout the song to give sahi desired effect, most notably from 0.25 to 0.26, 3.37 to 3.38 & 5.18 to 5.20

2. Himesh's killer bazz octave vocals in beginning and especially the unplugged ending of song.

3. The Ahista Ahista beat that really gives a halke se kick in between 0.26 & 0.44

4. The hard core sufi rwak tune build up followed by the heavy sufi-rwak instrument kill effect at start of song and in between 1st & 2nd stanza gap.

5. The fast paced tabla beats to give sahi desired effect.

If the listeners judge this song based on only the melody and lyrics, they will find the song decent.

If the listeners consider that the melody was designed to showcase the range of Himesh – the singer (LOW OCTAVE n HIGH PITCH in mukhda lines, MIDDLE OCTAVE in stanzas) and more importantly to connect along with paying very close attention to each and every instrument in song in the manner which they are used to deliver "sahi desired & kill effect", hopefully they will realize the greatness of this composition.

Kola Laka Vellari - summary



Himesh's KILLER LOWER BAZZ OCTAVE SUFI RWAK vocals that have ECHO EFFECT and GRADUALLY FADE AWAY in da background from 3.29 to end in this video STRIKE A CHORD n SEND A CHILL DOWN DA SPINE. It is da part right in da end when Akki is sitting in a large empty auditorium and walks away out of it.

This hard core Sufi Rwak composition is a MASTERPIECE by Himesh. Picturization is FAIRYTALE NOSTALGIC. Underlying beat gives HALKE SE KICK. Himesh used two OFF-DA-HOOK HEAVY INSTRUMENTS i.e. from 0.17 to 0.18 & from 0.34 to 0.35 in da above video. Himesh's line, JAANIYA VE (OFF-DA-HOOK fulltu high pitched) from 1.05 to 1.06

Audio-visuals wise, its history!

Underlying Sufi beat pattern gives 'halke se kick' to listener. Two off-da-hook heavy Sufi instruments at 0:17 & 0:35, HRs lower octave lines, Tujhe Ya-aaaad (gradually ascending) Karke (kill melody effect note)...Mujhe Chain-nnnn (gradually ascending) Aave (kill melody effect note) from 0:36 to 0:24 win over the listener. HR's line, JAANIYA VE (off-da-hook fulltu high pitched) from 1.05 to 1.06, HR sings the free flowing stanzas in middle octave. In the end, when Akshay is sitting in a large empty auditorium and walks away out of it, along with HR's killer lower bazz octave vocals that have echo effect and gradually fade away in the background from 3:29 to end, strike a chord and blow away the listener. Picturization of music video of fairytale nostalgic.

Inshah Allah

The song begins with a feel good seductive trumpet piece until 0.28

The listener gets deceived with sudden change in tempo when the funky guitar plays from 0.29 onwards along with semi-plugged beats followed by feel good tunes until 0.57

From 0.58 onwards, Himesh croons in highest possible pitch to fully express himself with rhythmic beats with good dose of dhol.

Himesh's line, ALL-AH (sudden abrupt slogan) at 1.03, 2.17 & 2.29

The mukhda lines from 1.12 to 1.29, 2.06 to 2.10 & 2.18 to 2.23 are hummable.

The simple mukhda lines from 1.37 to 2.04 are sung with feel good vocals.

The catchy peppy feel good tune pattern from 2.25 to 2.31 gives complete effect to Himesh's high pitched croons.

Between mukhda & 1st stanza, the funky guitar piece is back followed by feel good harmonica piece and fast clap effect. The catchy feel good tune pattern plays.

1st stanza

Akruti Kakkar sings with feel good vocals on a simple composition pattern from 3.01 to 3.15 and the groovy tune sur enhances the overall effect.

Akriti's line, ME-EEEEN (feel good twist) from 3.10 to 3.11

Shaan's lines from 3.15 to 3.21 have traces of Himesh - pre ABA composer, with emphasis on lines MERE, TERI & AARZOO

Shaan's & Akriti's vocals PYAAR (feel) at 3.23

Between 1st & 2nd stanza, a string based Arabic element tune plays with remix beat effect followed by female croon and male alaap and catchy feel good tune. The male croons from 4.16 to 4.18 remind of the male croons from 3.22 to 3.27 in AAP KI KASHISH from AASHIQ BANAYA AAPNE.

2nd stanza

Akruti Kakkar sings with feel good vocals on a simple composition pattern from 4.23 to 4.37

Akriti's line nazrana-AAAAH (prolonged dying effect) from 4.33 to 4.34 is borrowed from Himesh's sufi rwak singing style.

From 4.37 to 4.38, the continuous groovy tune is great.

Shaan's lines from 4.38 to 4.44 have traces of Himesh - pre ABA composer, with emphasis on lines TERE & CHAHATEN.

The song ends with male croons and feel good tune pattern that is the theme piece in essence (highlight of this song).

Highlights of this song:

1. The peppy feel good tune pattern that is theme piece of this song.

2. Shaan's and Akriti's feel good vocals.

3. Himesh's fulltu high pitched croons.

4. The underlying full on dhol/drum beats on which this song replies upon for its rhythm.

This song does not come from Himesh's top drawer of song bank but it is feel good rhythmic just what the doctor ordered for the movie's situation.

My Picks

1. Kola Laka Vellari

The BEST part of 1st stanza is Himesh's line, BAYAAN (OFF-DA-HOOK middle octave emphasis vocals with repetitive echo effect) from 2.27 to 2.28 & 2.44 to 2.45 followed by OFF-DA-HOOK quick heavy beat effect at 2.29 & 2.45

2. Inshah Allah

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