good_boy_bad_boy

Music review analysis of Himesh Reshammiya's album Good Boy Bad Boy (2007).

Good Boy Bad Boy

Himesh springs in a surprise in form of a feel good luke warm opening number, something that was totally in contrast to his usual fulltu title tracks.

The song starts with seductive female vocals along with male rap and vocal effect.

The funky bazz guitar piece plays from 0.21 to 0.31.

The mukhda lyrics are a mix of Hindi and English, something that Sameerji churns for feel good numbers.

The English mukhda piece is simple composition, with subtle pitch variations by Akriti Kakkar.

The underlying beats are gentle and laidback.

The tune pattern in Himesh's lines JANNAT DIKHATEE are a touch similar to Shaan's lines SAB KUCH MITA THA HAI from 5.23 to 5.25 in NIKAMMA KIYA from KYA DIL NE KAHAA.

The beat effect from 1.05 to 1.07 & 1.26 to 1.28 gives sahi desired effect.

The funky tune that plays in between Himesh's lines from 1.08 to 1.18 & 1.29 to 1.38 enhances the feel good nature of this song.

The best feel good effect in Himesh's vocals is from 1.10 to 1.11 & 1.31 to 1.32

Between mukhda & 1st stanza, the seductive female croons from 1.39 to 1.43 remind of the seductive female croons in start of AAKHIYON SE GAL KAR GAYI from SHAADI SE PEHLE, especially at 0.21. A feel good tune follows up.

1st stanza

The composition pattern is very unlike Himesh especially the female part.

The best feel good effect in Himesh's vocals is from 2.44 to 2.45

Between 1st & 2nd stanza, an oriental flute with a skip pattern plays followed by feel good trumpet.

2nd stanza

The composition pattern is very unlike Himesh especially the female part.

The best feel good effect in Himesh's vocals is from 4.07 to 4.08

The funky trumpet used in between 3.27 & 3.33, 4.50 & 4.57 was similarly used in between 2.02 & 2.10, 2.17 & 2.20 in TA THAIYA from AAMDANI AATHANI KHARCHA RUPAIYA.

Highlights of this song:

1. Himesh's and Akriti Kakkar's feel good vocals.

2. Male rap vocals and seductive female vocals.

3. Beat effect behind line JANNAT DIKHATI, feel good trumpet and funky guitar.

Lyrics, especially the English ones could have been tighter. Actually, it is quite a task to compose a title track for heading such as Good Boy Bad Boy, as the starting point is not that ideal.

This is a luke warm track that doesn't have any fire power as such, and was an exception to the norm in terms of opening numbers in Himesh albums at that time.

However, the song may do justice to the theme and backdrop situation in question which is about funky care feel good bindass college life where the youngsters are having some fun.

Meri Aawargi

The song begins with RWAKING calypso beats with a fluctuating live wire bazz / voltage sound which are borrowed from a leaf of Dj Akbar Sami's instruments.

The quick heavy beat effect at 0.03 is off-da-hook.

Himesh goes about his usual high pitched sufi rwak croons from 0.04 to 0.10, with emphasis on full-tu highest note OO (effective) at 0.07

A feel good Rajasthani theme piece plays from 0.11 to 0.19

Himesh's line, SANAM - MMM (up desperation plea twist) from 0.26 to 0.27 & 0.42 to 0.43 was similarly used in line OOO (awesome up desperation plea twist) from 0.58 to 0.59 in MERE LAMHON KI AARZOO from AAP KAK SUROOR, AAA (up desperation plea twist) from 0.10 to 0.11, 1.06 to 1.07 & 1.28 to 1.29 in CHAAHAT KI KHUSHBOO from ISHQ HAI TUMSE, line and OOO (up desperation plea twist) from 0.48 to 0.50 in SANGDIL SANAM from TUM.

The core effective tune is on the mukhda lines TU THAMLE JHO DAAMAN, in unplugged mode followed by the quick matka beat effect at 0.47 & 1.11 that gives sahi desired effect.

Himani sings with husky vocals.

Between mukhda & 1st stanza, feel god male vocals followed by feel good Rajasthani theme piece.

1st stanza

Himesh sings with his sufi-rwak feel good vocals on a simple yet effective.

The beat effect from 2.04 to 2.08 in unplugged mode gives great intermittent effect.

Between 1st & 2nd stanza, the feel good tune pattern along with seductive female vocals from 2.40 to 2.51 is great build up and the song becomes rwaking when the underlying calypso beats kick in again from 2.52 onwards. This is followed by Rajasthani theme piece.

2nd stanza

Himani sings with her husky feel good vocals on a simple yet effective.

The beat effect from 3.24 to 3.28 in unplugged mode gives great intermittent effect.

The song ends with high pitched male croons, with emphasis on full-tu highest note OO (effective) at 4.04 & 4.12

Highlights of this song:

1. Rwaking live-wire calypso beats.

2. HR's sufi-rwak vocals & Himani's husky feel good vocals.

3. The Rajasthani theme piece, matka beat effect and unplugged beat effect in stanzas.

Aashiquana Aalam Hai

The song begins with Himesh's desperation feel croons in unplugged followed by an intensely passionate violin piece.

The listener is just guessing which direction the song will take until peppy lively beats kick in with a rhythmic skip effect from 0.24 onwards.

A well structured funky feel good guitar piece from 0.28 to 0.35 is joined in by da combo of penetrating violin piece and fast paced tabla beats until 0.43

Da rhythmic beats are in full flow from 0.43 onwards.

The quick rising intense violin piece and feel good funky guitar in between 1.01 & 1.13 are of great cause.

The composition pattern / style from 0.58 to 1.11 is very typically characteristic of Himesh - the sufi rwak composer.

Himesh's line, NASHAAAAAAAAA (prolonged) AAA (terrific twist) from 1.12 to 1.14 along with additional beat hit pattern that gives sahi desired effect and perfect timing.

Vineet's vocals brightens up this song further.

Himesh's & Vineet's lines, is dil MEEEEE (off-da-hook profound quick middle octave twist) from 1.15 to 1.16 & 1.23 to 1.24, 1.38 to 1.39 & 1.46 to 1.47 are the BEST TUNE of this song.

Himesh's lines & Vineet's lines, HAI - AA (normal note) - III (higher note) from 1.19 to 1.20 & 1.26 to 1.28, 1.41 to 1.44 & 1.49 to 1.51 is similar to himesh's line TU - UU (normal note) - UU (higher note) from 2.26 to 2.28 in NAAM HAI TERA from AAP KA SUROOR.

Da combo of intense violin piece and feel good funky guitar that play behind Himesh's & Vineet's above lines give overall completeness effect.

Between mukhda & 1st stanza, the feel good funky guitar piece is joined in by da combo of passionate intense violin piece and fast paced tabla beats.

1st stanza.

The additional beats from 2.09 to 2.10 are also very much a household name for the post-ABA himesh and often used in sufi rwak songs for such intermittent effects.

Vineet sings with feel good vocals from 2.10 to 2.21 with good echo effect and the accompanying subtle faint groovy sound that joins in from 2.16 to 2.21 is of great cause.

Sunithi's feel good ALTO vocals with echo effect along with subtle faint groovy sound and the additional low pitched vocals from 2.25 to 2.31 create a good overall effect.

The feel good funky guitar from 2.20 to 2.22 & 2.31 to 2.33 gives good intermittent effect.

The female seductive feel vocals HAAAAH along with Sunithi's desperation feel vocals in between 2.35 & 2.45 were also used in TERE BINA from AKS - THE MOVIEE.

The quick tabla skip pattern in between 2.34 & 2.40 is of great cause, followed by the quick funky guitar skips from 2.46 to 2.48 that give completeness effect.

It is good interesting choice by Himesh to compensate for the missing soothing female chorus.

Another interesting thing is how Himesh makes the singers to sing both in low and high pitch and alternating in between them.

Alka's low ALTO pitched line, is dil MEEEEE (awesome innocent plea) from 2.57 to 2.58

Between 1st & 2nd stanza, the subtle raga instrument tune along with seductive female whispers from 3.03 to 3.10 is followed by funky feel good guitar and fast paced tabla beats.

2nd stanza

Himesh's line, HAAI (typical sufi rwak twist) at 3.28

The accompanying subtle faint groovy sound that joins in from 3.24 to 3.29 is of great cause.

Alka's high-pitched melodious vocals with echo effect along with additional low pitched female vocals from 3.30 to 3.40 create a good overall effect, along with a catchy rising violin piece from 3.32 to 3.33

The rising feel good funky guitar from 3.39 to 3.41 gives completeness effect to Alka's preceeding lines.

The feel good funky guitar from 2.20 to 2.22 & 2.31 to 2.33 gives good intermittent effect.

Alka's lines, DEEWANAPAN (awesome halke se feel twist) from 3.43 to 3.44 & 3.50 to 3.52 along with female seductive feel vocals HAAAAH that were also used in TERE BINA from AKS - THE MOVIEE enhance the desperation plea factor.

The quick funky guitar skips from 3.54 to 3.56 that give completeness effect.

The mood again becomes bright peppy from 3.56 to 4.03

The combination of female vocals from 4.11 to 4.24 creates an overall great sur at a higher pitched level, along with the violin piece / funky guitar that give good tune sur.

The rhythmic skip beat pattern from 4.27 to 4.32 & 4.50 to 5.02 is great.

All male and female singers join in at da end to make it an eventful outing.

Highlights of this song:

1. The underlying rhythmic lively beat skip pattern along with energy filled vocals.

2. Himesh's sufi rwak vocals & Vineet's feel good vocals (with emphasis on line IS DIL MEEEE), Sunithi's alto vocals and Alka's melodious vocals.

3. Great vocal pitch variations with echo effect in stanzas.

4. Da combo of passionately intense violin piece and feel good funky guitar piece used intermittently, subtle raga instrument tune in between 2st stanza gap, subtle faint groovy sound in both stanzas, additional beat effect at start of stanza and fast paced tabla beats that were household element in sufi rwak songs .

5. Female seductive feel croons HAAAAN in stanzas and loud female seductive whispers in between 2nd stanza gap.

Apparently, this song is meant to brighten up the college going lover's mood with enthusiastic vocals and peppy beats.

Ideally, hear this song for Himesh's and Vineet's line, is dil MEEEEE (off-da-hook profound quick middle octave twist).

Dard E Dil

This song shows how a Producer can completely influence the sound of a Music composer to fulfill the requirements of his subject in nature.

The song starts with fast-tabla beats along with female chorus croons that are very representative of the 90's.

From 0.30, the peppy beats kick in along with the theme piece sound.

The lines Dard E Dil are representative of oldern era.

The bazz trumpet is in SYNC with Zubeen's lines DARD * 3.

The mukhda lines have both pre-ABA and post-ABA style.

The line DARDE at 0.56, 1.35 is pre-ABA whereas the ARMAAAAAAAA (prolonged twist, much like a chant to Allah) from 1.01 to 1.07, 1.40 to 1.44 is sufi-rwak style.

The techno sound followed by whish effect from 1.06 to 1.08, 1.44 to 1.46 gives sahi desired effect.

The energetic croons and clap effect in between 1.12 and 1.27, 1.49 and 1.57 are again an influence by Subhash Ghai and are representative of the early 90's kabeela style.

The female chorus gives overall melody from 1.30 to 1.38

Between mukhka and 1st stanza, an oriental flute plays followed by groovy male vocals.

1st stanza

The beat effect from 2.39 to 2.40

The composition pattern follows a fixed mantra of repetitive hooks.

The twists in lines KAHAAN, KAAFILE, DEEWANAPAN, TUM

The bazz sound from 2.48 onwards gives a retro feel.

The chorus is again representative of the 90's style.

Between 1st and 2nd stanza, HR mixes rap-n reggae and the theme piece tune follows.

2nd stanza

The underying bazz sound gives a retro feel.

The composition pattern follows a fixed mantra of repetitive hooks.

The twists in lines MANZILE, NASHA, MEIN, SAAZA

The BAZZ TRUMPET effect behind these lines is great, which makes 2nd stanza better than 1st.

The chorus is again representative of the 90's style.

The female chorus joins in the end along with profound clap effect to finish off the song.

Highlights of this song:

1. Rap-n-reggae in between 1st and 2nd stanza.

2. The peppy underlying beats, bazz sound to give a retro feel, the bazz trumpet especially in 2nd stanza, the techno sound followed by whish effect and theme piece to an extent.

3. HR's pre-ABA style DARDE followed by post-ABA style ARMAAAN.

4. Female chorus along with Zubeeg Garg's vocals

To be quite honest, this song is a strange mix of new plus old age sound.

Subhash ghai plays the spoilsport because he interferes with HR's sound, sadly in a bad way in this case.

If the listener pays attention ONLY to HR's sound, they will realize the presence of his prolonged twists-n-turns, repetitive hooks, bazz trumpet and retro sound.

Now when the listener considers the use of lyrics as dard-e-dil, female chorus, energetic chants and clap effect that are representive of 90's, the culprit is very much obvious.

Without this influence, HR would have churned this song into a full on sufi-rwak number with tighter and heavier orchestration.

However, having said that, this song could be heard once in a while and is more tailor-made to the situational appeal mandated by the producer.

But sometimes, music composers should be left to do their own thing.

My Picks

1. Meri Aawargi.

2. Aashiquana Aalam Hai.

3. Good Boy Bad Boy Title Trax.

4. Dard-E-Dil.

Meri Aawargee

[N.B - audio quality not that good]

In MERI AAWARGEE REMIX from GOOD BOY BAD BOY - Himesh's fulltu high pitched alaap vocals OO-OO-OO-OO (off-da-hook quick computerized skip effect) from 0.26 to 0.40 sounds Alien-ish.

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