KailashHimesh-Kailash

Kailash Kher's main forte as a singer is also Sufi Rwak (just like Himesh) and his USP is the KASHISH in his fulltu high pitched vocals.

Himesh - the composer has street smart sensibilities and he knows that another sufi rwak singer (apart from himself) can do good justice to his Sufi Rwak compositions, because ultimately they are in the same zone in terms of the genre and understand the specific little nuances that such songs require.

Having said this, it comes as no surprise when Himesh makes use of Kailash Kher and gives him high pitched portions in his compositions, and more often than not, Kaliash Kher has just RWAKED it whenever he featured in Himesh compositions.

Pre ABA era

Uud Uud Jaaye from Vaada

This was Himesh's only Sufi Rwak number in the pre ABA era, and it was a shift of sound domain from his usual love ballads and a mandadory item / stage / club song in pre ABA albums. Himesh broke away from his contentional perceived 'dhokla boy' image to do some expermentation with sound.

Underlying Sufi Rwak beats are foot tapping rhythmic catchy and Himesh delivered the instrumental kill effect with lighter set of quick drum hits for BUILD UP from 0.47 to 0.48 followed by heavier set of quick drum hits from 0.49 to 0.50 for the KILL effect. The sufi tune in between 1st stanza gap from 1.45 to 1.50 and the heavenly majestic tune from 1.58 to 1.59 & 3.25 to 3.27 is catchy.

Kailash Kher just rwaked it in this one whereby his fulltu high pitch voice delivered the VOCAL KILL effect and bring da listener into da zone, especially in da stanzas whereby his stand out lines are, nishaana huuun (terrific subdued singing) from 1.58 to 2.00, tere pyaar ke (terrific desperation feel) from 3.24 to 3.25, prem kahani (terrific desperation feel) from 3.35 to 3.36

Play on this song at full blast!

Meri Chaandi Tu from Silsilay

He just rwaked it in this one with his FULLTU HIGH PITCH pitch core mukhda repetitive tag line DAM MAST MAST KALANDAR which was the VOCAL USP of the song.

Play on this song at full blast!

Post ABA era

Meethi Meethi Baatan from Aap Ki Khatir

His stand out line in this song is his soulful croon from 1.11 to 1.14 whereby he pours his heart out.

Once again Himesh used Kailash's vocal strength by giving him the high pitch croons in between 2nd stanza gap from 3.41 to 3.51

Damadji from Radio

Himesh decided to rope in and feature alongside with Kailash Kher behind da mike at a time when he had a policy decision that no other male playback singer would croon his composition as he was having a total package (composer actor singer) deal with T Series to croon all his songs for himself.

He felt the need for that TRADITIONAL AUTHENTIC touch in his this composition, which Kailash Kher's voice could do justice to and give it a Rajasthani folkish touch (which can also be evidenced by the lyrics like...aangna hai padhare).

Once again Himesh gave him the high pitch tag lines that were used intermittently throughout the song.

His lines towards the end make the maximum impact and strike a chord i.e. maange na kapta lata, ghar nahi car hai ji...lala lejane aaye hamra sansaar ji from 6.03 to 6.13

Conclusion

Himesh - Kailash Kher jodi combo rwaks!

This is because Himesh has given Kailash Kher high pitch portions and his fulltu high pitch vocals with kashish have delivered the vocal kill effect.

 

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