tom_dick_n_harry

Music review analysis of Himesh Reshammiya's album Tom Dick N Harry (2006).

Zara Jhoom

This song comes in an era where himesh was experimenting and playing around with hip-hop RnB/rap-n-reggae style. It shows that Himesh is keeping up with changing times and current trends.

It is a Sufi Rwak stage performance song with Himesh's vintage power packed Sufi Rwak singing with a punch, along with a flavor of Hip Hop RnB and Rap N Reggae. As a matter of fact, it is Himesh's best sung n composed Hip Hop RnB trax in the post ABA era till date.

The song begins with freaky male vocals till 0.04 as if da devil has captured an innocent soul and intends to scare da hell out of it.

It has a rebellious type "international feel" feel from 0.05 to 0.22 which is representative of a grand intro theme entry of a rwakstar.

The rapper belts out loadza attitude with non-comprehendo lyrics like...jona-di-bi-da-unkh from 0.20 to 0.22 and it is meant to be exactly that way...off-da-hook...because the song is all about throwing attitude.

Off-da-hook underlying free flowing rhythmic RnB Hip Hop beat which skips itself (in the later/ending part of the beat) is tailor made for the protagonists to do some super kool wacky dance moves on da stage. 

The been (snake) theme piece from 0.22 to 0.38 has a simple yet catchy repetitive hook pattern. 

Himesh's mukhda lines, JARA JHOOM JHOOM * 3 (catchy repetitive hook) from 0.40 to 0.45, followed by ZARA JHOOM - JHOOM - JHOOM - JHOOM (repetitive echo effect gives the completeness effect, sung with a punch) from 0.45 to 0.48

The intermittent been (snake) theme piece from 1.01 to 1.09 & 1.14 to 1.23 builds up Himesh's lines tremendously. 

Himesh's line, PYAAR HAAI (off-da-hook slogan type singing) from 1.00 to 1.01, SAWAAR HAI (off-da-hook slogan type singing) from 1.13 to 1.14

Himesh is in a heavyweight boxing championship ring and delivers the knock out punch with the line JHOOOM...JHOOM...JHOOM...JHOOM (repetitive echo effect) from 1.45 to 1.47 (such is the power of the punch line that no opponent dares to enter the ring - fun intended). 

Between mukhda & 1st stanza, a raga tune piece with an emotional konnekt from 2.47 to 3.03 in semi plugged mode is followed with OFF-DA-HOOK quick hard hit pattern as if someone hits a hammer repetitively to ground a nail in between 3.04 to 3.06 which gives KICK, followed by off-da-hook full underlying rhythmic free flowing beats and been (snake) theme piece from 3.07 to 3.13

Stanzas are simple yet effective with rhymying, free flowing and uncomplicated lyrics.

1st stanza

Himesh's lines from 3.13 to 3.19 & 3.30 to 3.35 have a simple well structured repetitive tune pattern.

Himesh's lines, kaise me dil ko roku saathiyaAAAAAAAAA (catchy prolonged vocals with OFF-DA-HOOK abrupt slogan leave) from 3.18 to 3.20, bin tere chain kahi na saathiyAAAAAAAA (catchy prolonged vocals) from 3.35 to 3.38 are the build up part.

The been (snake) theme piece from 3.21 to 3.29 gives good intermittent effect.

Himesh gives it his vocal might in line, SAATHIYAAA (high-pitched passionate intense emphasis vocals, jaise ke sar pe josh aur junoon savar hua hai) from 3.39 to 3.42 which give completeness effect to preceeding lines.

In between 1st & 2nd stanza, the rappers do their thing along with a cute tune piece from 4.08 to 4.24 in semi plugged mode, followed by off-da-hook full underlying rhythmic free flowing beats and been (snake) theme piece from 4.24 to 4.33 

2nd stanza

Himesh's lines from 4.33 to 4.39 & 4.51 to 4.56 have a simple well structured repetitive tune pattern. 

Himesh's lines, tere siwa na koi...KHAYALAO (catchy vocals) ke janaah me...zameeno aasman me....SAATHIYAAAAAAA (prolonged catchy vocals with OFF-DA-HOOK abrupt slogan leave) from 4.39 to 4.41

The been (snake) theme piece from 4.41 to 4.50 gives good intermittent effect.

Himesh gives it his vocal might in, SAATHIYAAA (high-pitched passionate intense emphasis vocals, jaise ke sar pe josh aur junoon savar hua hai) from 4.49 to 5.02 which give completeness effect to preceeding lines.

Highlight of this song:

1. Himesh's powerful punch lines upon which this song relies and banks.

2. Off-da-hook free flowing rhythmic RnB HipHop beat pattern tailor made for wacky super kool dance moves. 

3. The simple yet catchy been (snake) theme piece that is used intermittently throughout.

4. Male Rap N Reggae at start of song and in between stanza gaps. 

4. Emotional feel raga tune in between 1st stanza gap followed by quick repetitive hard hammer hits that give kick. 

Conventional singers like Sonu nigam and co are cheating themselves if they think that they can pull off such a number, they can keep on dreaming. 

One and only Himesh - the singer can sing such trademark tailor-made songs for himself. Such songs are the 'weapon' of himesh reshammiya.

If this song was sung one note lower in terms of underlying scale it could be more melodious but remember this song is mainly about rythm.

This is a song that could be danced on with fulltu attitude (the way they dance in its music video) in da RnB secion of a club. So if you think that you are a great Hip Hop RnB dancer, then there is no better song other than this to sway your body and showcase some super kool wacky dance moves.. But only 1 condition attached, the volume should be full blast. 

Zara Jhoom - Music Video

It is Himesh's vintage Hip Hop RnB Sufi Rwak track.
Himesh's entry at beginning iN his trademark rwakstar attire is grand dhamakedaar, and he gives a swolid power packed performance throughout the entire song.
All the male leads do some superkool funky dance moves.
The quick repetitive hammer hits from 1.39 to 1.41 in between 1st stanza gap give kick.
Himesh's intense facial expression where he gives it his might with full josh n junoon on his line SAATHIYAA (passionate emphasis croons) from 2.13 to 2.17 & 3.36 to 3.37 is adorable.

It is Himesh's vintage Hip Hop RnB Sufi Rwak track.

Himesh's entry at beginning in his trademark rwakstar attire is grand dhamakedaar, and he gives a swolid power packed performance throughout the entire song.

All the male leads do some super kool funky dance moves.

The quick repetitive hammer hits from 1.39 to 1.41 in between 1st stanza gap give kick.

Himesh's intense facial expression where he gives it his might with full josh n junoon on his line SAATHIYAA (passionate emphasis croons) from 2.13 to 2.17 & 3.36 to 3.37 is adorable.

Tanha Jiya

This is a MIDDLE OCTAVE song.

It showcases 2 things namely Himesh's middle octave penetrating vocals and middle octave sooth feel vocals. 

The build up starts with ALIENISH croons.

The sharp whoosh sound at 0.08

The underlying rhythmic beat just HITS IT from 0.17 onwards.

Himesh's well structured prolonged middle octave vocal alaap OOOOOO (passionate emphasis croons) from 0.34 to 0.51 give jazba to da listener.

A subdued himesh experiments with his voice, he softens up his vocal chords and sings with a subtle feel.

Emphasis for soothing mukhda lines, TANHA JIYA...JAAYE-EEEE (prolonged soothness). 

BEST PART of song is Himesh's lines, AAAAAYEEEE (terrific prolonged sooth feel twist) from 1.18 to 1.22 & 1.39 to 1.43 in unplugged mode along with an OFF-DA-HOOK beat pattern from 1.20 to 1.22 & 1.41 to 1.43 that delivers da KILL/COMPLETENESS effect.

The key is the additional beats that hit behind these lines that give the SAHI DESIRED effect. Terrific!

There is a small gap between mukhda & 1st stanza, with string instrument playing.

Stanzas are also middle octave.

1st stanza

Emphasis on...CHEHRA (soothing), YAADEIN (soothing), PEHRA (soothing), RANG YEH MERI (penetrating MIDDLE OCTAVE vocals), TU YAAD SAB (soothing)

The female vocals (Ahir) have a short and sweet stay, thus adding to the song.

Emphasis on the twists of the word TU.

Between 1st & 2nd stanza, the alienish vocals return.

Emphasis on...paagal paagal dil ki dhadkan (penetrating middle octave), chaaya aisa deewanapan (soothing), tu na jaane * 2 (penetrating middle octave), kya hoti hai dil ki tadpan (soothing).

Emphasis on last word of all lines of female vocals. Lyrics rhyme.

Between 2nd & 3rd stanza, very short gap with strings.

Emphasis on... MERI SAASENI TUJH SE JAANAM (penetrating middle octave), infact all the way until 4.00, HARDUM (soothing).

Emphasis on the twists of the word TU of the female vocals.

...SAATHIYA (soothing) at 4.13 and 4.17.

From 4.24, TANHA JIYA NA (utter soothing), JAAEEE (soothing twist) at 4.27, 4.35 & 4.44

Highlights of this song:

1. Himesh's subdued MIDDLE OCTAVE (soothing) and MIDDLE OCTAVE (penetrating) vocals.

2. The starting well structured vocal theme piece OOOOOO that gives jazba. 

3. The underlying beats with a hard hit pattern. 

4. The line, aaye sukoon na AAAA EEEE (prolonged sooth feel twist) with off-da-hook additional beat effect that give sahi desired effect is the best part.

5. Alienish vocals at start and Ahir's short-n-sweet vocals in the stanzas. 

Tere Sang Ishq

The song starts with naughty female vocals followed by female rap.

The underlying beat kicks in from 0.09 onwards and has a rhythmic skip pattern.

The peppy Punjabi flavored tune plays from 0.28 to 0.36

The beat effect from 0.36 to 0.38 is similar to beat effect from 2.53 to 2.54 in AFREEN from RED - THE DARK SIDE.

From 0.38 to 0.57, Himesh sings with deliberate feel good arrogant vocals the way he asked KK and Shaan to sing his club numbers in pre-ABA era.

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

Himesh touches high notes from 0.57 & 1.54 onwards and his pitch variation until 1.25 is great.

BEST PART of song is Himesh's line, TERE SANG ISHQ HAI YAAD TERE SANG DIL LAGIYA (MIDDLE octave vocals) from 1.12 to 1.15 & 1.50 to 1.53 followed by quick cunning wicked tune from 1.15 to 1.16 & 1.54 to 1.55 that gives completeness effect followed by Himesh's line, TERE SANG ISHQ HAI YAAR TERE SANG DIL LAGIYA (OFF-DA-HOOK fulltu high-pitched) from 1.16 to 1.19 & 1.55 to 1.58,  HO-HO-HO-HO (quick gradually rising vocals that drive listener berserk) from 1.20 to 1.21 & 1.59 to 2.00, TERE SANG ISHQ HAI YAAR TERE SANG DIL LAGIYA (OFF-DA-HOOK fulltu high-pitched) from 1.21 to 1.24 & 2.00 to 2.04

Himesh's line, HO - OO - OO - OO (off-da-hook fulltu high pitch quick rising twist) from 1.20 to 1.21 & 1.58 to 2.00 give jazba to da point of being capable of driving da listener berserk, when heard in overall context of his above associated lines.

Off-da-hook heavy beat effect at 0.59, 1.18, 1.38 & 1.57 gives great intermittent effect. 

The quick wicked cunning tune from 1.15 to 1.16 & 1.53 to 1.54 gives completeness effect to preceeding lines.

The echo effect in the line LAGIYA is great.

Off-da-hook quick beat effect from 1.25 to 1.26 gives kick. 

Tulsi lines are feel good melodious and give good support to Himesh's vocals.

Between mukhda & 1st stanza, the naughty female vocals and rap are back followed by Punjabi flavored beats.

1st stanza

The composition pattern is simple yet effective along with echo vocal effect.

Between 1st & 2nd stanza, a groovy tune plays along with computerized cunning male vocals with a skip effect.

2nd stanza

The composition pattern is simple yet effective along with echo vocal effect.

The song finishes with the Punjabi flavored beat and naughty female vocals.

Highlights of this song:

1. Himesh's deliberate feelgood arrogant adjusted singing style and Tulsi's melodious vocals.

2. The rhythmic beat pattern, the cunning tune pattern and heavy beat effect.

3. Naughty female vocals, rap and cunning male computerized vocals with skip effect.

4. The Punjabi flavored and lyrics that give this song its identity (Punjabi touch).

Yeu Kasi Kasi

The song starts with male croons in semi-unplugged beat and underlying bazz sound.

The drum beat pattern from 0.10 onwards is likeable.

The soothing female chorus kicks in from 0.26 to 0.36

The tune on the repetitive mukhda lines YUN KASI KASI is simple and déjà-vu and frankly due to the lyrics, it is a limited segment appeal.

Sonu's lines from 0.53 to 1.04, 1.16 to 1.27 are likeable especially the JAANE JAAA-AA (lower note) – AA (lower note) – AA (lower note) followed by drum beat effect.

Sonu's line, TERI (off-da-hook halke se feel) from 1.16 to 1.17

The KEY is the SYNC between the beat pattern and vocals on the composition pattern.

Between mukhda & 1st stanza, a synthetic new-age instrument plays along with male and seductive croons.

1st stanza

The female singer's lower pitch ALTO (strike a chord) vocals followed by HIGH pitched vocals on a simple well structured tune are likeable.

The beat gives a lick with vocal lines and sets the foot tapping.

The seductive female croons along with intermittent male croons from 2.15 to 2.20 are effective.

Sonu's line JAGAAYE (feel good) at 2.35

Between 1st & 2nd stanza, a groovy new age sound plays along with bazz trumpet in semi-unplugged mode followed by soothing female chorus with full beats.

2nd stanza

The female singer's lower pitch ALTO (strike a chord) vocals followed by HIGH pitched vocals on a simple well structured tune are likeable.

The beat gives a kick with the vocal lines and sets the foot tapping.

The seductive female croons along with intermittent male croons from 3.26 to 3.31 are effective.

Sonu's line, DHADKAN (passion) at 3.45

The soothing female chorus along with male croons joins in towards the end.

Highlights of this song:

1. The music arrangement i.e. underlying drum beat pattern, new age synthetic sound, groovy new age sound and bazz trumpet in between stanza gaps.

2. Sonu's likeable passionate feel good vocals and female singer's ALTO vocals in stanzas that strike a chord.

3. Jayesh's high pitched croons of mukhda tag lines, soothing female chorus and seductive female croons.

The tune of this situational song is decent but the selection of mukhda lyrics in terms of common man's understanding YUN KASI KASI play the spoil sport because aam junta don't understand the meaning (nor may be bothered enough to find out) and they only appeal to a certain segment of listeners.

Cheena Re

Himesh's music changes according to current trends and times, showing that he is very market aware.

The song starts with a new-age flute type theme piece (with a groovy pattern) and 1 beat hit in unplugged mode followed by female rap.

The rhythmic beats kick in from 0.09 onwards and they have a SHARP hit pattern.

The techno bazz sound kicks in from 0.18 onwards and until this point, the build up is awesome as the flute also merges in.

Jayesh goes about his usual croons.

Sunithi chauhan is vintage made for such tracks and she sings with penetrating vocals, emphasis on CHEE (penetrating) NA at 1.05, REEEEEEE (prolonged voice deepening twist) from 1.06 to 1.09

The techno bazz sound in unplugged mode from 1.10 to 1.12 is cult stuff.

Sunithi's line, ME-EEEEEEE (prolonged voice deepening twist) from 1.18 to 1.21, 1.42 to 1.45

Between mukhda & 1st stanza, Himesh gets rap-n-reggae into his music and these were really the 1st signs of the changing sound. The rap by Arya gives some feel good kick along subtle female chorus. The flute theme piece follows.

1st stanza

Sunithi sings with her feel good vocals on a repetitive composition that is simple yet effective.

Sunithi's lines, DEE (classical twist) WA (classical twist) NA (classical twist) from 2.45 to 2.46, MEE (feel emphasis twist) EEEEEE at 2.48

Between 1st & 2nd stanza, Sunithi belts out some English lyrics and Sameerji used to mix English lyrics, for example the lines YOU ARE THE ONE FOR ME O BERIYA VE in ANKH VICH CHEHRA from APNE. The rap is darn effective.

2nd stanza

Sunithi sings with her feel good vocals on a repetitive composition that is simple yet effective.

Sunithi's lines, DHEE (feel good higher note) EERE at 3.33

Sunithi's lines, CHEENA (feel good penetration twist) from 3.42 to 3.44, MEEE(subtle)EEEEE(prolonged voice deepening)EEE(quick abrupt twist) from 3.54 to 3.56

Arya joins Sunithi in the end with his feel good rap and later takes over from her to finish off the song.

Highlights of this song:

1. Sunithi's penetrating vocals with prolonged voice deepening emphasis.

2. Arya's feel good rap-n-reggae vocals.

3. The sharp underlying beats, the new-age type flute theme piece and the bazz techno sound especially in unplugged mode where it becomes wicked cult.

This was one of the first songs in which Himesh introduced RAP-N-REGGAE to keep up with changing times and trends, or rather setting a new trend!

O Mitra Re

This song just has underlying RWAKING beats.

The starting BUILD UP with semi-plugged beats is joined in by continuous groovy sound from 0.03 onwards, joined in by vibrant retro sound along with additional beats from 0.07 onwards folllowed by a beat with THUMP effect from 0.15 onwards whereby song becomes RWAKIN and gets da listener into da zone.

To make things better, male vocals croon HOI at 0.23, 0.26, 0.31, 0.35, 0.38 thus giving good company to already good beats.

The fast paced tabla beats kick in behind lines O mitra re O mitra aaaaaaaaa from 1.15 to 1.23 & 1.46 to 1.53, and their tempo increases from 1.22 to 1.25 & 1.54 to 1.56 to give sahi desired effect.

Between mukhda & 1st stanza, the quick been (snake) tune piece from 2.11 to 2.27 is well structured, along with chilled out bindaas male croons. The bazz trumpet tune plays from 2.27 to 2.34

Stanzas are simply rocking and very rich in tune composition, along with the beats & male vocals saying HOI at right places, off-da-hook.

1st stanza

Kunal's line, pyar kar BAITHA (terrific twist) from 2.39 to 2.40

Between 1st & 2nd stanza, a synthetic classical instrument plays from 3.37 to 3.49 along with chilled out male vocals from 3.37 onwards.

2nd stanza

From 4.01 to 4.02, YAADO (high note) DON KI.

From 4.09 to 4.10, ZINDAGI (twist)

From 4.17 to 4.18, ehsaa (high) son ki.

At 4.26, saanson ki(twist)kahaniiee(down)eee(down)eeee(down)eeee(down), great down twist.

Stanza lyrics are simple and rhyme, uncomplicated yet very effective.

Higlights of this song:

1. The RWAKIN beats that get the listener into the groove.

2. Fast paced tabla that gives the sahi desired effect.

3. Stanzas that steal the show.

Play this song if you are in bindass mood.

My Picks

From Himesh's "sung n composed" songs:

1. Tanha Jiya Na Jaaye & Zara Jhoom (tie)

Tanha Jiya Na Jaaye 

The underlying rhythmic beat has a hard hit pattern. Himesh sings with middle octave sooth feel vocals. His well structured prolonged vocal alaap OOOOOOOOO from 0.34 to 0.51 gives SIKE/JAZBA. BEST PART of song is Himesh's lines, AAYE SUKU NA AAAAAYEEEE (terrific prolonged sooth feel twist) from 1.18 to 1.22 & 1.39 to 1.43 in unplugged mode along with an OFF-DA-HOOK beat pattern from 1.20 to 1.22 & 1.41 to 1.43 that delivers da KILL/COMPLETENESS effect. The music video is not in sync with da audio, rather than being picturized on dandiya setting, exotic mountaneous terrain with rotational camera angles would have done justice da song in terms of its overall audio-visual appeal.

Zara Jhoom

The underlying free-flowing rhythmic RnB beats. Been (snake) theme piece is used intermittently throughout. OFF-DA-HOOK quick repetitive hard hits from 3.04 to 3.06 in between 1st stanza gaps. Himesh's lines in both stanzas, SAATHIYA (catchy prolonged with OFF-DA-HOOK abrupt slogan leave) from 3.19 to 3.21 & 4.39 to 4.41 is build up part followed by his line SAATHIYAAA (high-pitched passionate intense emphasis vocals) from 3.39 to 3.42 & 4.49 to 5.02 which give completeness effect.

2. Tere Sang Ishq

Underlying beat has a rhythmic skip pattern. BEST PART of song is Himesh's line, TERE SANG ISHQ HAI YAAD TERE SANG DIL LAGIYA (MIDDLE octave vocals) from 1.12 to 1.15 followed by quick cunning wicked tune from 1.15 to 1.16 followed by Himesh's line, TERE SANG ISHQ HAI YAAR TERE SANG DIL LAGIYA (OFF-DA-HOOK fulltu high-pitched) from 1.16 to 1.19,  HO-HO-HO-HO (quick gradual rising vocals that drive listener berserk) from 1.20 to 1.21, TERE SANG ISHQ HAI YAAR TERE SANG DIL LAGIYA (OFF-DA-HOOK fulltu high-pitched) from 1.21 to 1.24

From Himesh's "composed only" songs:

1. Cheena Re

The flute theme piece plays intermittently throughout. Underlying beats are rhythmic. Sunithi's penetrating vocals make melodious impact. Arya's rap between both stanza gaps gets da listeners into da zone.

2. O Mitra Re

BEST INSTRUMENTAL part of song is the starting BUILD UP with the semi plugged beats at start, joined in by an awesome continuous groovy tune from 0.04 to 0.07, joined in by catchy vibrant synthetic retro tune along with additional beats from 0.08 to 0.15, followed by da full underlying beats with THUMP effect from 0.15 onwards.whereby song becomes RWAKIN and gets da listener into da zone. Melody wise, stanzas are catchy and better than mukhda.

3. Yeu Kasi Kasi

In terms of da overall tune, the song is simple and catchy. However, da underlying orchestration interms of typical beat pattern and core mukhda tag regional lyrics like YEU KASI KASI restrict its appeal to a select audience i.e. da machiwalas and fishermen in Maharashtra area. Sonu's BEST line in da song is TERI (terrific desperation plea twist that gives halke se feel) from 1.16 to 1.17

Underlying beat pattern is foot tapping, Sonu sings with pleasing soothing vocals that appeal. Sonu's line, O JAANE-JAA-AA-AA (awesome descending notes) from 1.02 to 1.04 & 1.25 to 1.27, Sonu's line, TERI (off-da-hook halke se feel vocals) at 1.16, ARMAAN JAGAAYE (off-da-hook feel good high pitched vocals) from 2.35 to 2.37, DHADKAN BADHAAYE (off-da-hook passionate feel vocals) from 3.46 to 3.48, off-da-hook beat pattern at 1.04 & 1.27 catches listener's pulse...orchestration is new age in between both stanza gaps...Richa Sharma's vocals in lower octave from 2.05 to 2.16 & 3.17 to 3.26 appeal. Song is situational, but still a worthy hear.

Remixes

Zara Jhoom Jhoom Remix

Zara Jhoom Jhoom Remix music video with Himesh actually featured in the middle of the film, and not even in the opening or closing credits. It only showed what a phenomenon Himesh was at that time, and no wonder this film was a musical hit. 

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