phir_hera_pheri

Music review analysis of Himesh Reshammiya's album Phir Hera Pheri (2006).

Yaad Sataye Teri

Himesh meets and greets the 'hip hop RnB' genre and sings in middle octave.

The composition pattern is simple in terms of melody as the focus is on the rhythm.

The prolonged descending pattern of the bazz trumpet from 0.21 to 0.25 are well structured!

The hip hop beats hit it from 0.26 onwards and they are free flowing with clap effect.

The harmonica theme piece plays from 0.30 to 0.45

HR's lines ARMAAN (repetitive), JAAGE TERE VASTE is an innovative experimentation.

The lines from 1.04 to 1.14, 1.22 to 1.38 & 1.43 to 1.51 have an additional faint Himesh's higher pitched computerized voice to enhance his nazal twang effect.

Between mukhda & 1st stanza, the harmonica theme piece plays.

1st stanza

The bazz trumpet provides good intermittent effect in between Himesh's lines in between 2.01 to 2.17

The underlying profound beat effect from 2.17 to 2.26 gives some kick and gets da listener into da zone. 

Between 1st and 2nd stanza, a thoughtful bazz trumpet pattern plays followed by harmonica theme piece.

2nd stanza

The bazz trumpet provides good intermittent effect in between Himesh's lines in between 3.16 to 3.33

The underlying profound beat effect from 3.36 to 3.41 is gives some kick and gets da listsner into da zone. 

Himesh finishes the song in unplugged mode in the same manner in which he started it.

Highlights of this song:

1. Himesh's middle octave singing.

2. The rhythmic hip hop beats.

3. The bazz trumpet, harmonica theme piece and underlying profound beat effect from 2.17 to 2.26 & 3.36 to 3.41

Ae Meri Zohrajabeen

This song is high on rhythm in terms of beats and it has as East-West combo mix of Indian tabla beats and raga tune and western metal guitar.

Himesh's sings in his trademark sufiana andaz with lot of zeal and vigor, with a slogan echo effect on word JABI.

The raga tune (with awesome quick twist) and vibrant metal guitar play intermittently.

The effect from 0.59 to 1.00 & 1.25 to 1.26 gives kick in the overall context of lines.

The whistle effect from 1.10 to 1.16 & 1.29 to 1.42 caters to the comic theme of situation.

Between mukhda & 1st stanza, feel good female vocals croon followed by raga tune.

1st stanza

The composition pattern and singing style is Himesh's vintage sufi-rwak with slogan type chants.

Himesh's lines, bada tadpati HAI (strikes a subtle MIDDLE OCTAVE chord), na reh PAUNGA (vintage sufi-rwak), DOORI (vintage sufi-rwak), seh PAUNGA (strikes a subtle MIDDLE OCTAVE chord).

The raga tune with awesome quick twists plays intermittently.

The effect from 2.35 to 2.36 gives kick in the overall context of lines.

The funky guitar plays at 2.46 & 2.52

Between 1st & 2nd stanza, the tabla plays followed by feel good female croons from 3.20 to 3.33 and raga theme piece from 3.33 to 3.47

2nd stanza

The composition pattern and singing style is Himesh's vintage sufi-rwak with slogan type chants.

Himesh's lines, kahin choot na JAAYE (strikes a subtle MIDDLE OCTAVE chord), zara chain AAJAYE (strikes a subtle MIDDLE OCTAVE chord).

The raga tune with awesome quick twists plays intermittently.

The effect from 4.25 to 4.26 gives kick in the overall context of lines.

The funky guitar plays at 4.37

Highlights of this song:

1. Himesh's power packed sufi-rwak style that is USP of this song.

2. The slogan type chants with echo effect.

3. The underlying rhythmic beats, raga theme piece with quick twists, whistle effect, vibrant metal guitar, funky guitar in stanzas and tabla beats.

4. The feel good female croons.

5. The effect from 0.59 to 1.00, 1.25 to 1.26, 2.35 to 2.36 & 4.25 to 4.26 that gives some kick in overall context. 

Dil Naiyo Maane

The song begins with semi-plugged beat skip pattern and string based raga theme piece instrument (not the tune) that was also used from 2.14 to 2.18 in TERE HI LIYE from MR FRAUD, and from 1.44 to 1.51 in AMEEN from RED - THE DARK SIDE.

The repetitive hard hit pattern joins in from 0.20 onwards

The underlying beat pattern (which skips itself in the latter part) was also used in CHALO DILDAR CHALO from DIL DIYA HAI.

The mood of this song is kept subtle laidback.

Himesh's line, EK TERE SIWAH (awesome soothing feel) from 1.15 to 1.17, KACH NAIYO JAANE RE (awesome lower octave vocals) from 1.21 to 1.23

The off-da-hook raga instrument tune from 1.18 to 1.20 & 1.38 to 1.41 has awesome desperation feel, & it gives the completeness effect in higher pitch from 1.23 to 1.25 & 1.43 to 1.46

The beat effect from 1.04 to 1.05, 1.24 to 1.26 & 1.44 to 1.46 gives awesome intermittent effect.

Tulsi Kumar arrives with her melodious haunt feel vocals.

Her lines, KACHO (subtle feel), JAANE RE (awesome halke se feel twist) from 1.43 to 1.44, & DIL NAIYO MAANE RE * 3 (high pitched haunt feel melody) from 1.46 to 1.55

Between mukhda & 1st stanza, the string based raga theme piece is back.

1 stanza

Tulsi's lines from 2.06 to 2.15 have cute high pitched haunt melody.

Tulsi's lines, kya KAROOOOOOOOOOOOOON (slight gradual voice deepening gives some kick) from 2.16 to 2.18

Between 1st stanza & 2nd stanza, a repetitive dodgy voice from 3.04 to 3.13 is followed by terrific raga tune piece in prolonged mode from 3.14 to 3.24, especially the off-da-hook up down notes from 3.18 to 3.19 that fully convey the emotional plea, followed by great quick twists.

2nd stanza

Tulsi's lines from 3.24 to 3.33 have cute high pitched haunt melody.

Tulsi's lines, kya KAROOOOOOOOOOOOOON (slight gradual voice deepening gives some kick) from 3.34 to 3.36

Highlights of the song:

1. Himesh's singing prowess as a middle octave singer and his showcase of his lower notes/octave.

2. Tulsi kumar's melodious cute high pitched haunt feel vocals.

3. The prolonged raga tune piece with strong emotional quotient that plays in between 1st and 2nd stanza which is best part of the song.

Dil De Diya

This is a feel good and chillax song.

Sunithi begins this song with her seductive feel croons along with jingle effect until 0.18

The rhythmic beats just hit it TANHA TERE BAGAIR (AHISTA AHISTA) style from 0.44 onwards.

The 2 beats at 0.53, 0.57, 1.01 & 1.05 are of great cause. 

The female feel good chorus at 1.09 & 1.11

Kunal croons, DIL DE DIYA (deliberate artificial forced voice rise) HAAAA at 1.17 & 1.25

The wicked instrument from 1.37 to 1.39 gives completeness effect. 

Sunithi's feel good vocals, seene se NIK (emphasis) AAAL KEEEEEEE (voice deepens) from 1.44 to 1.47

Between mukhda & 1st stanza, an awesome string-based RAAGA instrument plays from 2.00 onwards and ARYA throws attitude with his rap-n reggae (whoa, what a combination). From 2.16 to 2.31, the rap-n-reggae is totally cult rebellious and off-da-hook stuff, it drives the listener crazy.

1st stanza

The fast drum roll beats at 2.41 kick start the stanza. 

The female soothing chorus UUUUUU (which was one of 3 key pre ABA elements) kicks in from 2.51 to 2.56

From 2.57 to 3.12, a faint accompanying raaga instrument plays giving great overall effect.

OFF-DA-HOOK hit pattern from 3.12 to 3.14 gives intermittent kick.

The 2 quick hit pattern at 3.18, 3.22 & 3.26 gives kick in overall context of underlying beats.

The feel good female croons WOOW WOOW behind kunal's vocals from 3.30 to 3.33 are of great cause. 

Sunithi's line, seene se NIKAALLLKEEEEEEEEYYYYYAAAA (awesome prolonged feel good twist) from 3.42 to 3.44

Between 1st & 2nd stanza, a groovy mysterious tune along with heavy clap effect from 3.53 to 4.00 followed by CELLO tune from 4.01 to 4.08 followed by feel good female croons from 4.09 to 4.17. Arya's rap along with peppy beat skips from 4.17 to 4.33 is OFF-DA-HOOK CULT that drives the listener beserk & makes them shoot into outer space. 

2nd stanza

The fast drum roll beats at 4.42 kick start the stanza.

A groovy tone plays from 4.44 to 4.49 

The female soothing chorus UUUUUU (which was one of 3 key pre ABA elements) kicks in from 4.52 to 4.57

Kunal's lines, SANA (deliberate artificial voice rise) MMMMMM at 5.15

OFF-DA-HOOK hit pattern from 5.38 to 5.40 gives intermittent kick.

Sunithi's line, DIYA - AAAAA (gradual voice rise that gives halke se feel) from 5.39 to 5.41, nikal KEAEEE AAAA EEEAAA (feel good twist) from 5.44 to 5.45, seene se nikal keEEEEEEAAAAAA (prolonged voice deepening) 5.53 to 5.55

The song ends with da combo of fast drum-roll beats and a techno sound that halts at a rather abrupt note from 6.10 to 6.11

Highlights of this song:

1. Kunal's and Sunithi's chilled out feel good vocals. 

2. The underlying rhythmic beats that are TANHA TERE BAGAIR (AHISTA AHISTA) style and the additional beats that just HIT IT at the right places.

3. The string based raaga instrument piece in between 1st stanza gap, cello tune in between 2nd stanza gap, groovy tune in 2nd stanza, fast drum-roll beats at start of each stanza and techno instrument at end. 

4. Arya's RAP-N-REGGAE in between both stanza gaps that has da potential to drive da listener berserk. 

5. Female feel good croons WOOOW UUU WOOOW and soothing female chorus in stanzas. 

Himesh reshammiya just HITS IT in this one in terms of the underlying beats.

Just that the opening lyrics DIL DE DIYA SEENE SE NIKAL KE could have been better, because they don't sound too good when the listener practically visualizes them into reality.

Post the TOM, DICK N HARRY era, himesh reshammiya entered into a new category of duet songs along with some rap-n-reggae. This new category has songs like dil de diya, tune mera chain vain le liya, cheena ve (just for a sample) and Himesh experimented wich and incorporated RAP-N-REGGAE vocals to a great success.

There was a strong effect on the feel good factor, rhythm and slightly less on melody and it was quite deliberate as these songs were usually slotted at 4 or 5 position in their respective albums.

Sadly, some of these songs were completely overshadowed due to overdose of back to back albums at that time and also due to Himesh sung and composed songs on 1st and 2nd positions that took away most of da lime light. 

Play this song if you are in a good peppy mood.

Pyar Ki Chatni

To describe this song in one phrase would be FEEL GOOD BINDASS MAST ITEM NUMBER.

The song begins with quick profound raw tabla hits until 0.06 that convert into a bindass tapori style beat until 0.20, with emphasis on a 3 LOL classical loop pattern from 0.17 to 0.20 whereby the listener is swirving sensessly around in turns.

The vocal percussion at 0.22 is LOL.

 The chan-chan of payal from 0.24 to 0.32 give the aahat of the nachaniyaa and marks her arrival onto da scene which was keenly awaited by the maalamaal weekly baburao (paresh rawal) courtesy of Hera Pheri antics who now wants to enjoy and blow off (lutwa) his riches in da downtown interiors.

 The bindass free-flowing beat pattern that kicks in from 0.33 onwards makes da listener sway in extacy just like Krishna dances in his desi tapori ishtyle in Comedy Circus.

The Arabian string-based instrument piece from 0.55 to 0.58 is followed by quick profound heavy drum hits from 0.59 to 1.01 followed by cute key flicks from 1.04 to 1.06

Sunithi is the justified selection for this song with her penetrating feel good vocals.

A naughty bindaas tune plays from 1.14 to 1.17

Her lines from 1.25 to 1.28 & 2.01 to 2.04 are catchy.

The naughty cheeky female chorus in SYNC with drum effect from 1.29 to 1.31 & 2.06 to 2.08 is great build up followed by kill effect of quick profound raw drum hits along with dodgy male vocals from 1.32 to 1.34 & 2.09 to 2.11 that give tremendous KICK.

Sunithi's catchy core mukhda lines from 1.33 to 1.46 & 2.12 to 2.23 along with intermittent catchy tune key flicks from 1.40 to 1.46 & 2.17 to 2.23

The male and female chorus join in from 2.16 onwards to enhance the peppyness of proceedings.

Between mukhda and 1st stanza, a peppy traditional folk tune piece plays in bindass mode from 2.25 to 2.38 followed by Indian string based instrument tune from 2.39 to 2.44

1st stanza

Sunithi sings with feel good vocals in between 2.50 & 3.08 whereby da lyrics oriented towards food / edibles stuff don't make much sense or logic, and are not supposed to be taken seriously either.

A traditional folk tune from 2.57 to 3.00 gives good intermittent effect.

The rising string-based flick from 3.08 to 3.09 is likeable.

Sunithi's lines, MITADE (awesome emphasis feel) from 3.11 to 3.12

Between 1st & 2nd stanza, more traditional folk tune plays from 3.32 to 3.46 along with underlying mast tabla beats, with emphasis on the awesome build up hits from 3.34 to 3.35 followed by Indian string-based tune from 3.47 to 3.54 and a Rajasthani folk tune from 3.55 to 4.00 along with dadgy male vocals. The catchy string-based theme tune plays from 4.01 to 4.08

2nd stanza

Sunithi sings with feel good vocals in between 4.09 & 4.27

The feel good Arabian string-based tune from 4.16 to 4.20 gives good intermittent effect.

The tune from 4.27 to 4.28 is groovy.

Sunithi's lines, CHUPAALE (off-da-hook zabardaast classical twist) at 4.31

The loud wicked cult male vocals along with quick profound heavy drum hits from 4.37 to 4.39 give hell lot of kick.

In the end, the energetic male and female vocals join in from 4.40 onwards to uphold the vibrancy of proceedings along with traditional tune.

Highlights of this song:

1. Sunithi's feel good bindass vocals tailor made for this song, with emphasis on lines MITADE (awesome emphasis feel) from 3.11 to 3.12, CHUPAALE (off-da-hook zabardaast classical twist) at 4.31

2. The build up of song at start in a mast tapori way followed by underlying mast free flowing tabla beat pattern.

3. Catchy Indian string-based theme piece, cute tune flicks, traditional /Rajasthani folk tunes, groovy tune and feel good Arabian tune.

4. The naughty cheeky female chorus in SYNC with drum effect that give great build up followed by KILL effect of quick profound raw drum hits along with dodgy male vocals that give tremendous KICK is USP of this song.

5. Loud energetic male and female chorus to enhance the liveliness of proceedings.

The tune of this song is quite catchy but the orchestration and lyric selection that do full justice to the situational backdrop in movie may limit the appeal to specific segment i.e. mainly in small town interiors and first row benchers of moviegoer audience who would take fulltu lutf with fulltu whistles and claps.

Therefore, in a broader sense, this song is a tribute to one of Himesh's major fan base i.e. Autowalas, who are equally just human beings as the rest of so-called classy population in India.

So come on Bhai log lets get the dhoti out and hit da down town galli muhala streets.

My Picks

From Himesh's "sung n composed" songs:

1. Dil Naiyo Maane Re.

2. Yaad Sataye Teri.

3. Ae Meri Zohrabeen.

From Himesh's "composed only" songs:

1. Dil De Diya.

2. Pyar Ki Chatni.

Listen

 

Joomla! Debug Console