Music review analysis of Himesh Reshammiya's album Rocky - The Rebel (2006).
Junoon
Himesh reshammiya creates one heck of a rwaking number.
The starting build up beats until 0.04 are straight into business.
The composition style on Himesh's repetitive lines JUNOON is very catchy.
It is very well structured as JUNOON * 2 have profound low twist and the 3rd JUNOON has a profound low twist followed by an up twist, which gives the complete effect to the overall lines.
Note the bazz sound from 0.14 to 0.18
The underlying beats are in sync and very free flowing.
The continuous tune sur from 1.06 to 1.20 is adrenaline giving.
Himesh builds up the line SUKUUUUUUUU (prolonged, terrific) from 1.22 to 1.25 and then delivers the knock out punch with UUUU (OFF-DA-HOOK killer twist) from 1.26 to 1.27, 1.50 to 1.51
The 1 hit beat at 1.26, 1.51 gives sike.
Himesh's lines JUNOON * 3 (profound down twist) which gives a KICK, are similar to the lines dil ka CHAINNNN (profound down twist), dil ke PAAAAS (profound down twist) in AARZOO (MR FRAUD) between 2.12 and 2.15.
The underlying bazz instrument from 1.27 to 1.34 gives great build up.
The heavy beats at 2.13
Between mukhda and 1st stanza, a guitar piece plays.
Stanzas are a high-pitched roller coaster ride with Himesh, just as listeners were treated to high pitched stuff in stanzas of AASHIQUANA HAI DIL from AKS.
1st stanza
The beat effect at 2.39 gives great kick start.
Himesh sings with full throat in the highest possible pitch with all his might.
The repetitive composition hook pattern is very catchy.
Note the continuous faint tune sur in the background.
Emphasis on HAI at 2.54
This is adrenaline giving stuff.
Akriti Kakkar also delivers the knockout punch in her ALTO vocals with the lines "AAEE MERI (HISTORY) from 3.06 to 3.07, BIN TEREE (HISTORY) from 3.10 to 3.11, AAYE (PENETRATING VOCALS) at 3.15, SUKUUN – UUUUUUUU (prolonged) – UUN (killer twist, HISTORY) at 3.18
Her lines from 3.19 to 3.26 give sike.
Himesh taught her the right style of the ending twist (up n down) of the words SUKUUN and she sung it in his exact sufi rwak singing style.
Similar twist in SUKUUN has also been used in MASHA ALLAH (KARZZZZ) from 3.14 to 3.15, TERA MERA MILNA (AKS – THE MOVIEE) from 0.25 to 0.25 and DEHKU TUJHE (APNE) from 1.15 to 1.16, 4.19, the lines KAHAAA (prolonged twist) from 1.01 to 1.02, 1.19 to 1.20 in CHUTKAN GANG (AABRA KA DABRA).
Between 1st and 2nd stanza, tabla pattern plays along with Himesh's croons.
2nd stanza
The beat effect at 4.10 gives great kick start.
Himesh sings with full throat in the highest possible pitch with all his might.
The repetitive composition hook pattern is very catchy.
Note the continuous faint tune sur in the background.
Emphasis on TAHNA (arrogance feel), EK (total effort).
This is adrenaline giving stuff.
Himesh's lines IN DHADKANO SE AATI HAI strike a chord.
Himesh's line SADA (rawness) at 4.31, a special thing to be noted here.
After pushing his vocal chord limits in both stanzas to sing in max high pitch, the so-called "sukha gala" in line SADA can be noted, but the KEY point is that the vocals may have been exhausted but NEVER the UNDYING SPIRIT because despite this he keeps coming at you and SALUTE to Himesh for this fact.
Amrita Kak casts her spell again with her vocals and she is the best suited to sing Sufi Rwak songs with Himesh.
Himesh's lines 4.50 to 5.03 are sung with feel and passion.
The song ends with quick heavy beats that deliver a statement.
Highlights of this song:
1. Himesh's undying spirited energetic high-pitched vocals with prolonged twists-n-turns.
2. Amrita Kak's low pitched ALTO vocals.
3. The underlying beats, bazz sound, continuous adrenaline giving tune sur and beat effect.
To sum this song up, it should not be called Junoon but RWAKING Junoon.
Lagi Choote Na
It is time to get into the business end of hard core sufi rwak with Himesh.
The song starts with a techno bazz beat in unplugged mode followed by a hard core sufi tune which builds up the song.
The rwaking calypso beat kicks in from 0.15 onwards followed by some more sufi rwak tune and this is overall adrenaline giving stuff.
Himesh arrives with his power packed vocals and croons with his might in high pitch, with emphasis on echo-effect.
Himesh's lines JAANIYA (echo effect, Nusrat fateh style), MAAHIYA (echo effect, Nusrat fateh style).
The shehnayi has been used interestingly well in between.
The beat skip effect from 2.16 to 2.17 gives good intermittent effect.
Between mukhda and 1st stanza, the the sufi rwak theme piece tune is back and the calypso beat effect is max.
1st stanza
The composition, signing style and also lyrics are uljhi vi sufi rwak stuff.
Himesh's line, ROOH (emphasis) at 2.55
Himesh's lines from 3.01 to 3.08 are best in stanza, with emphasis on AAFSANA (nusrat fateh style).
The raga tune is used in between to enhance the sadistic feel that is often the case with his hard core (and not usual) sufi rwak songs.
Between 1st and 2nd stanza, the KEY thing that gives the 'sadistic' nature is the way the shehnayi piece is used. It is not used in an emotional way but mixed with rwaking beats, in a manner to convey the desperation feel. This SADDISTIC touch in SUFI-RWAK is where HR gets hold of the listener's PULSE, and Himesh has carried on the trend from legends like Nusrat Fateh and Ataula khan, and in these kind of songs the protagonist says that life is a ***** but I am not going to weep emotionally but address my "gila shikwa" and despite that my "endless desire" for you.
2nd stanza
The composition, signing style and also lyrics are uljhi vi sufi rwak stuff.
Emphasis on Himesh's line TANHA (straight singing) at 4.02
Himesh's lines from 4.16 to 4.23 are best in stanza, with emphasis on AAFSANA (nusrat fateh style).
The raga tune is used in between to enhance the sadistic feel that is often the case with his hard core (and not usual) sufi rwak songs.
Highlights of this song:
1. Himesh's power packed signing delivered with a punch (and Nusrat fateh touch is evident).
2. The build up at start of the song.
3. The rwaking calypso beats and the foot tapping underlying beats.
4. The sufi theme piece, raga and shehnayi tune that conveys the sadistic touch.
5. Sameerji's lyrics that is perfect for this genre.
This is a song that would have made Nusrah Fateh Ali Khan and Atauala Khan proud.
It should also make Himesh fans proud because the sufi rwak genre was initially a surprise for HR fans who thought that our dhokla boy could only churn typical Indian love duets.
But now Himesh has become a 'speciality' in this genre and has gone very deep indeed into this genre. Shows how good he has mastered it!
Oh Jaana Love U Miss U
Himesh sings one of his ultimate best ever 'sung n composed' songs, which is also da BEST song of da album. He hits all da right notes and struck all da right chords in this song.
The composition pattern is well structured and simple, yet incredibly catchy.
A new 'subdued' Himesh sings with HISTORY middle octave vocals.
Himesh goes inner soul searching with his killer vocal alaap OOOOO from start to 0.20 which is HISTORY in terms of emotional feel and it totally connects and wins over the listener as he literally pours his heart out. This is his BEST EVER prolonged alaap in post-ABA era.
The KEY reason why this song is a ROCK BALLAD and not a typical Indian duet, is because of the underlying beat that kicks in from 0.10 onwards. Himesh developed this beat pattern in a cult way i.e. the basic set of 4 (HARD HARD SOFT HARD) hit pattern on its own, with the addition of a Waltz beat in between that provides the SKIP effect to the overall beat pattern when it is played in a repetitive loop, such that it becomes off-da-hook rhythmic free flowing. This beat goes it in SYNC with da vocals in terms of the tempo of the song.
The feel good violin piece builds up the song from 0.21 to 0.32
Sameerji belts some interesting well thought mix of Hindi and English lyrics.
The metal guitar piece behind Himesh's vocals in between 0.33 and 0.38 gives tremendous effect.
The composition on Himesh's lines IS NOT A (off-da-hook fulltu) from 0.35 to 0.36 & 1.01 to 1.02 is typical unique HR melody.
The listener may get a déjà-vu feel with the core mukhda lines, but in reality they are very well-structured i.e. the ending lines HAR LAMHA (normal note) from 0.40 to 0.42 & 0.51 to 0.52, HAR LAMHA (lower note) from 0.45 to 0.47 & 0.56 to 0.58
Himesh's lines, MY (terrific high pitched passionate vocals) from 0.58 to 0.59, TERE BINA (awesome desperation feel) from 1.14 to 1.16
The quick beat effect from 1.13 to 1.14 that gives sahi desired effect.was similarly used from 2.20 to 2.21 in YAHI HOTA HAI PYAR from NAMASTEY LONDON and from 1.03 to 1.04 in TERA SUROOR from AAP KA SUROOR.
Himesh's lines, TERE (terrific desperation feel) from 1.14 to 1.16, JEE (terrific desperation emphasis plea up note) NAA from 1.17 to 1.18, KYAAAAAAAA (prolonged feel good twist) from 1.18 to 1.21
OFF-DA-HOOK drum hit pattern with a THUMP effect from 1.22 to 1.25 & 4.26 to 4.28 as if da musician is testing out his set of drums, was similarly used in from 3.46 to 3.49 in DHOOM TERE ISHQ KI from KARZZZZ and 2.18 to 2.20, 3.45 to 3.47 in AHISTA AHISTA from SILSILAY whereby the tempo was obviously different but the overall desired effect in terms of completeness was similar.
The violin piece from 1.26 to 1.27 gives off-da-hook tune sur.
Himesh's line, MISS YOU (awesome halke se feel) from 1.29 to 1.30, LAMHAAAAA (awesome prolonged innocent sooth feel) from 1.26 to 1.28 & 1.32 to 1.33, really commendable singing style!
Between mukhda & 1st stanza, the killer theme piece alaap is back and Himesh's MIDDLE OCTAVE IMPACT alaap twist, OOOO from 1.34 to 1.35 in unplugged mode rips apart the inner soul and just bowls over da listener. The cute sounding instrument from 1.37 to 1.38,1.48 to 1.49 & 1.58 to 1.59 along with catchy violin piece that enhances the feel factor from 1.44 to 2.09 connects with da listener. The orchestration from 1.37 to 2.09 in between 1st stanza is incredibly catchy with an emotional konnekt.
1st stanza
This stanza is a build up for da 2nd stanza.
The beat effect from 2.08 to 2.09 was similarly used from 1.03 to 1.04, 2.29 to 2.30, 3.30 to 3.31 & 4.21 to 4.22 in TERA SUROOR from AAP KA SUROOR, to give sahi desired effect.
The violin piece gives good feel throughout.
Himesh's lines, NAZDEKIYAAAAAN (prolonged feel good twist), DOORIYAAAAAN (prolonged feel good twist).
Himesh's lines, HOGI KASHISH NA KAM * 2 have MIDDLE OCTAVE IMPACT.
Akriti Kakkar sings with subtle feel ALTO vocals, with emphasis on JAANE JAA (awesome subtle feel) from 2.34 to 2.36
Himesh gets a touch loud and forceful in his high-pitched line MY at 2.43 and this is the only weak point in this song.
Between 1st & 2nd stanza, the awesome well structured rising flute piece pattern was also used in the beginning of KESARIYA from NANHE JAISELMER. The killer middle octave subtle feel theme croons are back.
2nd stanza
This stanza gets into da serious / business end of da song whereby Himesh is in full form with his newfound middle octave singing style.
The beat effect from 3.29 to 3.30 was similarly used from 1.03 to 1.04, 2.29 to 2.30, 3.30 to 3.31 & 4.21 to 4.22 in TERA SUROOR from AAP KA SUROOR, to give sahi desired effect.
The violin piece gives good feel throughout.
Akriti Kakkar continues her good work with ALTO subtle feel vocals especially the feel good twist in her lines MEEEE.
Himesh's lines from 3.46 to 3.51, DHADKAN (HISTORY straight singing), KEH RAHEEEE (terrific prolonged feel good twist), RAG RAG (terrific straight singing), BEH RAEEEE (terrific prolonged feel good twist).
Himesh conveys all feelings with lines, DIL KI (HISTORY middle octave vocals) at 3.52, TUJH SE HI (HISTORY profound middle octave impact vocals that connect ) DIL KI LAGI from 3.56 to 3.58
The violin piece from 3.44 to 3.46 is mesmerizing.
Deep thoughtful lyrics that rhyme like DHADKAN BHI YEH KEH RAHI, RAG RAG MEIN TU BEH RAHI, TUJH SE HI DIL KI LAGI JANEJAA are HISTORY lyrics. Hats off to Sameerji, take a bow sir!
Himesh's lines, HAR (awesome voice shake) LAM (awesome voice shake) HA from 4.11 to 4.12
The violin piece from 4.12 to 4.14 gives awesome complete effect to Himesh's core mukhda line.
Himesh' lines, TERE BINA (HISTORY profound middle octave impact) from 4.18 to 4.20, JEE (terrific desperation emphasis plea up note) NAA from 4.21 to 4.22
The song finishes with Himesh's killer prolonged theme piece alaap that sounds very unlike him, talk about a new voice!
Highlights of this song:
1. Himesh's emotional plea vocals with killer/ripper prolonged theme piece alaap and profound middle octave impact in stanzas, both that strike an emotional chord.
2. Akriti Kakkar's subtle feel vocals in low alto vocals, which perfectly complement Himesh.
3. The underlying beat pattern that skips itself tremendously, violin piece that gives tune sur, metal guitar at start, cute sound, emotional violin and mesmerizing well structured rising flute piece in between 1st & 2nd stanza gap and off-da-hook raw drum hit pattern that gives some kick.
4. The terrific SCALE of this song is da CHUPPA RUSTAM & its USP.
This is da ultimate song whereby Himesh literally pours his heart out with emotional feel chord because it totally connects.
This song has Himesh's BEST EVER restrained middle octave vocals in terms of a new found singing style.
Hoping that he would be starting a new trend by composing such history rock ballads and singing them in da same manner!
O Jaana Love U Miss U Sad
This laid back song is a mix of pleasant soothing whistle piece n heartfelt singing by Himesh, whereby he pours his heart out in line IS ALL THAT I CAN which has off-da-hook fulltu singing. Some songs sound good unplugged n deserve a full version n included in OST album, n this sad version is one of them.
Off-da-hook catchy feel good funky trumpet from start to 0.08 is so mesmerizing n konnekts with the listener.
The pleasant soothing whistle piece from 0.10 to 0.37 calms down n relaxes da listener, bhaut sukoon deta hai.
Himesh sings with utmost feel from 0.39 onwards.
The feel good guitar riffs (with an inherent twist) in between 0.52 & 1.02 are of great cause.
Himesh pours his heart out gives it his all in his line, IS ALL (off-da-hook fulltu mighty vocals) from 1.06 to 1.07 to fully express da feelings.
His well structured core mukhda lines from 1.10 to 1.25 are sung with subtle feel.
This is a history shortened unplugged sad version of da history original rock ballad, whereby maximum feel is da ultimate winner.
O Jaana - Instrumental by diehard 2.0
High Quality WMA (Windows Media Audio) file download of this instrumental version:
the high quality WMA (Windows Media Audio) file can be downloaded from my HR group on facebook called HRFZ and the link is:
https://www.facebook.com/groups/HRFZZZZ/493870700678756/
Teri Yaad Bichke
The song begins with a harmonium theme piece.
The underlying free-flowing beats are pure Sufi style and can be related to the free-flowing underlying beats (not the exact pattern but the overall type, nature and trend) of UUD UUD JAAYE from VAADA.
Himesh's croon, HOOOO (prolonged) OOOO (twist) OOOO (great echo effect) from 0.50 to 0.55 & 1.04 to 1.09
Himesh's line, TERI YAAD (feel) from 1.09 to 1.10, 1.44 to 1.45
The rwaking NEED FOR SPEED HI STAKES IV BEATS kick in from 1.13 to 1.26, 1.48 to 2.01 & 2.14 to 2.27 along with a NEVER BEFORE HEARD Sufi-Rwak quick Instrument tune which is a TOTALLY NEW PLEASANT EXPERIENCE for a Himesh fan.
Himesh's lines, FURKAT KI * 2 (ustad Nusrat Fateh Ali style emphasis) from 1.33 to 1.36 & HOOOOOO (awesome prolonged computerized echo) from 1.41 to 1.44
Tulsi's vocals sings with innocently cute melodious vocals.
Her line, HOOOO (prolonged) OOOO (twist) OOOO (great echo effect) from 2.05 to 2.10 has haunting melody.
Her line, TERI YAAD (feel twist) from 2.10 to 2.11 & 2.19 to 2.20 was similar to Alka's line TERI YAAD (profound classical twist) at 1.49, 2.14, 4.00 & 5.51 in BHEEGI BHEEGI from JULIE.
Between mukhda & 1st stanza, the harmonium theme piece now makes sense in the song.
1st stanza
The Sufi Rwak instrument from 2.39 to 2.42, 2.48 to 2.51 is totally a new experience.
Tulsi's lines, TUUU (voice deepening) UUUU (left abruptly) –UUU – UUU – UUU - (awesome echo effect) from 2.57 to 3.00 gives halke se kick.
Between 1st & 2nd stanza, fast paced Sufi Rwak instrument tunes play from 3.26 to 3.39 with an awesome repetitive synthetic instrument from 3.29 to 3.31. HR uses these instruments in such parts only to BUILD SIKE, for example between 1st & 2nd stanza of KOLA LAKA VELLARI & AHISTA AHISTA (hard core Sufi Rwak). Those listeners who pick such trend will experience sike and if ignored or missed, then the composition will look very ordinary which it is actually not.
This is a key point because his hard-core Sufi songs have innovative beats and the sike factor is very important to feel greatness of the composition.
2nd stanza
The Sufi Rwak instrument from 3.52 to 3.55, 4.01 to 4.03 is totally a new experience.
Tulsi's lines, HAAI (voice deepening) AAAI (left abruptly) -AAI-AAI-AAI- (awesome echo effect) from 4.09 to 4.12 gives halke se kick.
Highlights of this song:
1. Himesh's ustad emphasis vocals & Tulsi's innocent cute vocals with haunt melody.
2. The underlying free-flowing SUFI beats.
3. The COMBO of Need for Speed High Stakes IV and never before heard sufi rwak instrument tune.
4. The sike giving (to an extent) Sufi-Rwak fast paced instruments, especially between 1st & 2nd stanza.
5. The computerized echo effect.
This is a totally new attempt by Himesh in terms of unique approach, courtesy due to the never before heard fast paced Sufi Rwak instruments.
This is not your usual sufi rock composition but hard core that goes deep down into the business end of this genre, and it reminds of the legendary Ataullah Khan's style with a desperation sadistic touch.
A food for thought, did the listener associate this song with an imagination of an outdoor setting that the protagonist / hero is out with his bed and mattress on his terrace with a full moon and his heroine is just somewhere nearby admiring the dark sky and stars?!
Dil Rang Le
The starting guitar riffs resemble to the opening guitar riffs in AAP KI KASHISH from AASHIQ BANAYA AAPNE.
The feel good female chorus goes about her YEEA.
The dhol beats have a SHARP hit pattern.
The emotional feel bansuri theme piece is used intermittently throughout.
The male vocals croon YEAH with attitude.
The fast paced drum-roll beats from 0.49 to 0.50 give intermittent kick.
Himesh - the composer gives chance to his chaila Vineet who was obviously his favored choice amongst newbies and he sings with SHARP vocals.
The BEST melody part of this song is Vineet's feel good lines, DILE RANGLE PYAR DE NAAL RANGLE (typical unique HR melody, great composition!) from 1.00 to 1.03 in unplugged mode after which 2 additional set of quick heavy beats hit it at 1.02 to give completeness effect.
The flute piece plays intermittently and the drum-roll beats again followed by vintage sunithi's vocals same effect as above best melody part except for her last word LE (said with a profound twist).
The male Punjabi styled loud vocals HOI from 1.39 to 1.48 brighten this already peppy trax.
At 1.48, a significant underlying BAZZ sound is great.
1st stanza
Sung with energy and very straight vocals.
From 2.08...tere ehsaas ka ek dard jaaga kabhi...is the old styled HR item number singing style.
The lines before and after the above part are sung with good feel effect.
Between 1st & 2nd stanza, the male Punjabi vocals crooning HOI make their presence felt. Household name Mr.Jayesh Gandhi goes about his usual business (albeit with Punjabi lyrics) with great results. The BAZZ TRUMPET plays in the mukhda lines, it has powerful effect.
2nd stanza starts with that underlying bazz sound at 3.18
Jaaneman jaane ja teri aashiqui dekh kar, chaaton ne kiya kuch aisa mujh pe asar...these are lines of old styled HR-the composer and sung in manner he asked KK and Shaan to sing.
The other lines in the stanza are sung with feel.
The best part of the song features again from 4.02 to 4.04
The Punjabi male vocals make their impact in the ending part.
Highlights of this song:
1. The theme flute piece that plays throughout at various parts of the song.
2. The best part from 1.00 to 1.03 & 4.02 to 4.04, including sunithi's part i.e. ending line 'LE'.
3. Male rap YEAH and Punjabi vocals HOI.
4. The KICKASS drum-roll beats, the underlying bazz sound, bazz trumpet between 1st and 2nd stanza, and aap ki kashish type string instrument to kick start the song.
Rocky Rock The World
Yet another Sufi Rwak Number with powerful vocals of Himesh, delivered with a punch. who was charged up for this high adrenaline song that gives sike. It is in da same 'rebellious' mode like I NEED MY SPACE from DAMADAMM.
The unplugged beats skip and tune piece with groovy feel builds up the song.
The haunting vocals from 0.19 to 0.43 are of good cause.
Echo effect is used optimally.
The underlying rhythmic rock beats kick in from 0.44 onwards and get the listener into the groove.
Himesh sings with SHARP KNIFE-EDGE vocals with HARDLY ANY TRACE OF NAZAL TWANG.
Himesh's vocals, BANJAARE-JAARE-JAARE-JAARE-JAARE (awesome echo effect) from 1.29 to 1.32, BANJAARE--JAARE-JAARE-JAARE-JAARE (TERRIFIC echo effect) from 1.34 to 1.37
Himesh' vocals SHAM SUNI RAAT (slogan type) from 1.41 to 1.43 & 1.53 to 1.55
Himesh's mukhda lines ROCKY ROCK THE WORLD are sung with energetic passion and vigour.
Haunting vocals return towards end of the mukhda.
Between mukhda & 1st stanza, good heavy bazz metal rock guitar plays.
1st stanza
Himesh's lines, KYA (twist) AAA-AA-AA-AA-AA (awesome echo effect) from 2.30 to 2.33, SAFAR (twist)-RR-RR-RR-RR (awesome echo effect) from 2.35 to 2.37
Himesh's line, HAI FIKAR (soothing) from 2.40 to 2.42
Himesh's lines, KAHE-HAI-HAI-HAI (awesome echo effect) from 2.46 to 2.48, CHALU-UU-UU-UU (awesome echo effect) from 2.50 to 2.52
Himesh's line, KOI DAR (soothing) from 2.55 to 2.57
The funky guitar plays in between 3.01 & 3.07
Between 1st & 2nd stanza, heavy metal rock guitar plays.
Himesh's lines, DYYILL (twist)-LL-LL-LL (awesome echo effect) from 3.40 to 3.42, KISE (twist)-EE-EE-EE (awesome echo effect) from 3.45 to 3.47
Himesh's line, HAR GADI (soothing) from 3.50 to 3.52
Himesh's lines, MERE (twist)-EE-EE-EE-EE (awesome echo effect) from 3.57 to 3.58, khwab HAI (twist)-AI-AI-AI-AI (TERRIFIC echo effect gives SIKE and sets the ADRENALINE FLOWING) from 4.00 to 4.02
Himesh's line, AAJNABEEEEEE (feel good) from 4.05 to 4.07
The effective funky guitar plays in between 4.11 & 4.17 and from 4.46 onwards along with HR's vocals to end the song.
Highlights of this song:
1. Himesh's sharp knife-edge vocals with hardly any traces of nazal twang, whereby echo effect is the key
2. The underlying rhythmic rock beats.
3. Bazz metal rock guitar and funky guitar.
4. Male haunt vocals.
It is unknown whether Rocky rocked the world or not, but Himesh definitely RWAKED with this one.
This can easily be classified as a FULL ON ROCK number courtesy due to music arrangement / orchestration but the word SUFI could come in if wished, courtesy due to Himesh's Sufi-Rwak singing style and voice.
My Picks
From Himesh's "sung n composed" songs;
1. O Jaana Love U Miss U (features in da best ever post-ABA playlist).
It is a rock ballad. Himesh's well-structured catchy soulful killer prolonged vocal alaap OOOOOO from start to 0.20, 1.33 to 1.43, 3.20 to 3.30 & 4.37 to end is HISTORY and his BEST EVER vocal alaap in post-ABA era. Underlying free flowing beats have a HARD hit pattern. Himesh's lines, IS NOT A (off-da-hook fulltu high-pitch) from 0.35 to 0.36 & 1.01 to 1.02 is typical unique HR melody. OFF-DA-HOOK raw drum hit pattern from 1.22 to 1.24 & 4.26 to 4.28. The violin piece give awesome intermittent tune sur. The majestic well structured gradually rising flute piece pattern from 2.59 to 3.19 in between 2nd stanza gap. Second stanza is better than first stanza. Himesh's lines from 3.46 to 3.51, DHADKAN (HISTORY straight singing), KEH RAHEEEE (terrific prolonged feel good twist), RAG RAG (terrific straight singing), BEH RAHEEEE (terrific prolonged feel good twist). Himesh conveys all feelings with DIL KI (HISTORY middle octave vocals) at 3.52, TUJH SE HI (HISTORY profound middle octave impact that connect) DIL KI LAGI from 3.56 to 3.58, Himesh's lines, TERE BINA (HISTORY profound middle octave impact that connect) from 4.18 to 4.20, JEE (HISTORY desperation emphasis plea up note) NAA from 4.21 to 4.22. Himesh made exceptional use of Violin to convey that desperation feel, especially from 1.13 to 1.14, 1.26 to 1.28, 3.44 to 3.46 & 4.12 to 4.14 that just WINS OVER DA LISTENER. Watching da music video of this song just takes da viewer into another world, whereby the chemistry between lovers takes place in a laidback chill pill backdrop setting as if life is just good. Himesh hit all da right notes and struck all da right chords in this song.
Himesh's killer soulful alaap from start to 0.20 & 1.33 to 1.43 whereby he literally weeps his heart out from 0.05 to 0.10 & 1.38 to 1.48 is as if the lover in heaven is calling out with 'dil ki pukar' for his loved one who is still on earth, followed by majestic laid back violin piece from 0.21 to 0.31 & 1.44 to 2.10 that has a strong EMOTIONAL KONNEKT in terms of giving a re assuring n comforting vibe as if the lover sees his loved one approaching and both the lovers have united in paradise whereby now life is good forever coz they have become eternal. It is amazing how Himesh lays out da vocals/instrumentals in his songs which can take a listener through a DIVINE journey in terms of listening experience, and also courtesy due to Sameerji's lyrics like...o jaana love u miss u har lamha, tere bina jeena hai kya...dhadkan bhi yeh keh rahi, rag rag mein tu beh rahi, tujhse hi dil ki lagi jaanejaa, which further help this cause.
From his songs in the post ABA era, this song is very close to the listener's heart. Historic tune, historic singing, soulful killer alaap, off-da-hook catchy orchestration, superb music video makes it one of the ultimate best Himesh 'sung n composed' songs in the post ABA era. The jaan leva vocal alaap OOOOOOO, seedha dil pe lagta hai. Every composer makes certain songs that cannot ever be recreated or replicated by others, thus making it a masterpiece klassik speciality of that particular composer, and this song is one of them. When the listener hears this song after a gap of 1-2 weeks whereby they hear loads of other Himesh songs during that period, then they will end up liking this song even that much more when they hear it again.
2. Junoon (features in da best ever post-ABA playlist).
3. Lagi Chute Na, Teri Yaad Bichake & Rocky Rock Da World (tie).
Lagi Chute Na
The SUFI tune along with semi plugged beats BUILDS UP the song from 0.08 to 0.14 is joined in by RWAKIN full on fluctuating calypso beat which delivers the KILL effect from 0.14 onwards and brings da listener into da zone to feel da groove of da beat. The intermittent shehnayi throughout the song depicts the desperation feel caused due to the pain of separation. It is a SADISTIC stage song, with a singing style that reminds the genre of songs sung by the great Atahullah Khan (who sung songs like Wafa Dara Sai).
Teri Yaad Bichake Sota Hoon
Underlying beats are free flowing sufi rwak. Himesh's and Tulsi's core mukhda tag lines, TERI YAAD BICHAKE SOTA/SOTI HOON along with the rwaking NEED FOR SPEED HI STAKES IV BEATS from 1.13 to 1.26, 1.48 to 2.01 & 2.14 to 2.27 along with a quick Sufi Rwak instrument tune is BEST PART of song. Himesh's line, HOOOOOO (awesome prolonged computerized echo) from 1.41 to 1.44, Tulsi's line, Tulsi's lines, TUUU (voice deepening) UUUU (left abruptly) –UUU – UUU – UUU - (awesome echo effect) from 2.57 to 3.00 & HAAI (voice deepening) AAAI (left abruptly) -AAI-AAI-AAI- (awesome echo effect) from 4.09 to 4.12 gives kick.
Rocky Rock The World
It is a full on rock number. BEST PART in this song is Himesh's line, khwab HAI (twist)-AI-AI-AI-AI (off-da-hook twist with quick repetitive echo effect gives SIKE and sets the ADRENALINE FLOWING) from 4.00 to 4.02 in 2nd stanza.
From Himesh's "composed only" songs:
1. Dil Rang Le
It has an emotional feel bansuri theme piece used intermittently throughout the song. The underlying beats are rhythmic with a SHARP hit pattern. BEST BART of song is Vineet's & Sunithi's feel good lines, DILE LANG LE PYAR DE NAAL RANGLE (CATCHY) in unplugged mode along with two OFF-DA-HOOK quick heavy hits that give completeness effect from 1.00 to 1.02, 1.24 to 1.27 and so on. Best part in song is Vineet's & Sunithi's catchy mukhda line DIL RANGLE PYAAR DE NAAL RANGLE from 1:00 to 1:02 & 1:24 to 1:26 in unplugged mode with continuous zooming background sound, along with off-da-hook heavy drum hits at 1:01 & 1:25