Music review analysis of Himesh Reshammiya's album Teraa Surroor (2016).

Main Woh Chaand

The song begins with high pitched piano theme piece, joined in by a subtle continuous emotional bazz trumpet in the backdrop.

Himesh gives his protege Darshan Raval the promised break in a reality show.

Darshan has a nasheela suroor in his voice and is apt choice for this song.

The intro mukhda lines from 0:20 to 0:35 have haunt feel in them.

Darshan's lines HAAI-AAAI, TERI-IIIII, BHEEGI-IIII, MERI-IIIII, KAHIN-IIIN are sung with a voice quiver, as if to depict the uncertainity and betaabi of a distorted disoriented lover.

The tune of the mukhda hook line from 0:37 to 0:46 sounds Deva-vu, which is the result of an inspired Himesh.

The composition pattern of mukhda lines from 0:47 onwards is well structured and free flowing, and along with the laidback rhythmic beat the proceedings become likeable and make for a pleasant hear.

Darshan's line, JIS KAA (nasheela suroor vocals) from 0:49 to 0:51 & 1:00 to 1:02, AASMAAN (nice profound twist) from 0:55 to 0:56 & 1:06 to 1:07

Between mukhda & 1st stanza, Himesh's Alienish dard bhara soulful alaap from 1:08 to 1:28 depicts the tadap of lover. The tenor piece with a sad undertone from 1:29 to 1:44 is likeable.

1st stanza

The combo of free flowing composition pattern and Darshan's passionate feel vocals from 1:46 to 2:06 makes for a pleasant hear, whereby Darshan enters the Arijit Singh zone with lines JANNAT TU HI HAI TU HONA NA DOOR, AZMAT HAI TU from 1:56 to 2:03

The computerized vocal echo effect and backdrop piano keys enhance the overall effect.

Things become intense from 2:06 to 2:19 as Darshan sings with intense high pitched vocals to depict the longingness of the tormented lover for his loved one.

Between 1st & 2nd stanza, a violin piece with a sad undertone plays from 3:08 to 3:17 in unplugged mode. Himesh is back with his Alienish dard bhara soulful alaap from 3:18 to 3:38 which depicts the tadap of lover.

2nd stanza

The combo of free flowing composition pattern and Darshan's passionate feel vocals from 3:04 to 4:00 makes for a pleasant hear.

The computerized vocal echo effect and backdrop piano keys enhance the overall effect.

Nice metamorphic lyrics, VEERANIYON KA DIL MEIN LAVA JAALE from 3:40 to 3:44

Things become intense from 4:01 to 4:12 as Darshan sings with intense high pitched vocals to depict the longingness of the tormented lover for his loved one.

The backdrop piano keys from 4:40 onwards enhance the overall effect. 

Highlights of this song:

1. Darshan's nasheela surror passionate feel vocals.

2. Underlying rhythmic laidback beat, high pitched piano theme piece, continuous bazz trumpet at start and the tenor piece in between 1st stanza gap.

3. Himesh's Alienish dard bhara soulful alaap.

Bekhudi

The song begins with well structured well thought prolonged violin theme piece that has a Roman Catholic feel in unplugged mode until 0:20

Feel good guitar riffs join in from 0:21 onwards.

The tune of the intro line BEKHUDIIIII (prolonged) IIIII (off-da-hook profound emphasis Sufi Rwak twist, gets to the listener) from 0:32 to 0:37 comes from Himesh's Sufi Rwak school of music, whereby Darshan's high pitched voice sounds bit rugged, coarse and distorted but has kashish in it.

The tune of repetitive hook lines from 0:48 to 1:08 is inspired from mukhda lines AALAM BETABIYON KA KAISE TUMKO BATAAYE DIL KE PECHI DARAYE CHAHE TUMKO HI CHAAHE from 1:16 to 1:26 in SAMJHO NA from AAP KA SUROOR.

Off-da-hook underlying rhythmic beat that comprises of raw Matka / Pot hit pattern that kicks in from 1:10 onwards is inspired from the underlying beat of DIL DIYA HAI TITLE TRAX.

The song is in full Rwakin form with the additional full on foot tapping beats from 1:21 to 1:40 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them.

Off-da-hook beat pattern from 1:41 to 1:42

Aditi sings with an intoxicated state feel and mesmerizes the listener with super seductive feel vocals in low Alto octave vocal range, with emphasis on lines LAMHA LAMHA TERI BAATEIN (awesome composition pattern) from 1:50 to 1:52

She deliberately does spit clicks in lines BELIYA-AA from 2:12 to 2:14 for that oomph factor.

The song is in full form with the additional full on beats from 2:31 onwards.

Aditi's line, BEKHUDI-III (awesome twist) from 2:28 to 2:30, BEHUDI-IIIIII (awesome prolonged subtle passionate twist) from 2:32 to 2:36

Between mukhda & 1st stanza, off-da-hook Roman Catholic styled grand cello piece with mindblowing instrumental depth, density and volume in unplugged mode wows, blows away and leaves the listener awe struck, especially off-da-hook notes from 2:40 to 2:44 with instrumental ghehraayi which gets to the listener, whereby they imagine themselves amidst old Catholic styled buildings somewhere in Romania. A well structured groovy tune plays from 2:47 to 2:57 along with full on underlying beat whereby the listeners imagine themselves near oldern styled rugged tunnel crevices. Lovely quick rising piano keys from 2:57 to 2:58

1st stanza

The tune and composition pattern comes from Himesh's Sufi Rwak school of music. Although it has the trademark stamp, but the way the individual segregated line pieces from 2:58 to 3:03, 3:03 to 3:08 & 3:09 to 3:19 are patched together gives novelty, new dimension and naya andaaz to the Sufi Rwak flavour. 

Darshan's awesome sooth feel vocals on the lines from 2:58 to 3:03 along with the combo of feel good guitar strumming causes the build up and slowly gets the listener back into da zone, after which the song is in full flow again from 3:03 onwards with arrival of full on Matka beat, whereby the lines from 3:03 to 3:08 are likeable and get the listener into da zone.

The tune from 3:09 to 3:13 is similar to the tune of mukhda lines O JAANIYA VE, O SAATHIYA VE, O BEELIYA VE from SAMJHO NA.

Darshan's line, MEIN (vocal tremble with kashish) at 3:13

Darshan's line, TU AB JUDA (slogan based Sufi Rwak naarebaazi with nice computerized vocal echo effect) from 3:16 to 3:19

Mindblowing lyrics, BAAGHI NAHI YE AASHIQ TERA DIL KOH NA AAZMAANA from 3:03 to 3:08 and TOMATON SE REHNA TU AB JUDA from 3:13 to 3:19 strike a chord with listener in context of the composition.

The song is in full Rwakin form with the additional full on foot tapping beats from 3:30 to 3:51 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them.

Between 1st & 2nd stanza, a well structured high pitched lovely piano piece in unplugged mode from 4:02 to 4:!2 mesmerizes the listener, and by the time the violin theme piece is back along with underlying rhythmic Matka beat, the listener feels it from 4:14 to 4:35 in terms of the well structuredness of the tune along with the rhythm. From second stanza gap onwards and into the 2nd stanza, the listeners find themselves somewhere near some mysterious dark unknown tunnels, caves and dungeons.

2nd stanza

The tune and composition pattern comes from Himesh's Sufi Rwak school of music. Although it has the trademark stamp, but the way the individual segregated line pieces from 4:35 to 4:39, 4:40 to 4:45 & 4:46 to 4:56 are patched together gives novelty, new dimension and naya andaaz to the Sufi Rwak flavour. 

Darshan sings the 2nd stanza better than the 1st stanza.

His likeable hopeful feel lines from 4:35 to 4:40 along with the combo of feel good guitar strumming causes the build up and gets the listener into da zone to feel it, after which the song is in full flow again from 4:40 onwards with arrival of full on Matka beat, whereby his lines from 4:40 to 4:46 are sung with versatility and range in terms of varying feel, intonations and vocal throw whereby they strike a chord, and the song enters in its business end.

His lines, JAZEERON SE (off-da-hook passionate sooth feel, goes soul searching), MERA (off-da-hook ghehraayi vocals) from 4:40 to 4:43

Darshan's line, KAGAZON PE JAISE LIKHI HAI SIAYI (off-da-hook singing, pours his heart out) from 4:46 to 4:51 whereby the tune is similar to the tune of mukhda lines O JAANIYA VE, O SAATHIYA VE from SAMJHO NA.

Darshan's line, TU KAR BAYAAN (slogan based Sufi Rwak naarebaazi with nice computerized vocal echo effect) from 4:54 to 4:56

Mindblowing lyrics, JAZEERON SE WAASTA HAI MERA TU REHMAT KA HAI FASAANA...KAAGAZON PE JAISE, BIKHRI HAI SIYAAYI...KAHAANI TU APNI YUN KAR BAYAAN from 4:40 to 4:56 strike a chord with listener in context of the composition.

The song is in full Rwakin form with the additional full on foot tapping beats from 5:07 to 5:27 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them. 

Highlights of this song:

1. Darshan Raval's passionate feel vocals and Aditi Singh's super seductive feel vocals.

2. Underlying rhythmic Matka beat, well structured violin theme piece,

3. Off-da-hook Roman Catholic styled grand cello piece that blows away the listener and well structured groovy tune in between 1st stanza gap

4. Well structured lovely piano piece in between 2nd stanza gap.

5. Mindblowing Urdu lyrics especially in stanzas to enhance the Sufi Rwak feel.

Bekhudi music video

There was a time when other actors used to walk with stylo on Himesh's music, like Imraan Hashmi and Sonu Sood towards the end of ABA TITLE TRAX music video when they walk across the bridge from opposite directions, and Shahid Kapoor towards the end of AASHIQUI ME TERI from 36 CHINA TOWN promo music video somewhere in a desert.

Now Himesh himself walks with stylo on his own compositions i.e. from 2:24 to 2:28 in Bekhudi music video.

Wafa Ne Bewafai

The song begins with a new age metallic guitar along with intermittent groovy sound.

The underlying beat that joins in from 0:12 onwards comprises of underlying thumping bongo hits and clap effect.

Arijit Singh sings the intro mukhda lines from 0:24 to 0:46 with passionate feel good vocals.

The distorted guitar strumming is a hinderance and breaks the flow of composition. It could have been avoided. But it may be included from narrative's viewpoint as the lover is playing the guitar and singing for his beloved one.

Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 are the best lines in the song and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact.

The quick repetitive mukhda hook line WAFA NE BEWAFAYI KI HAI is decent, whereby the underlying quick Brass Ens hits are likeable.

Between mukhda & 1st stanza, Suzanne D Mello goes about her trademark seductive passionate feel croons along with feel good laidback guitar strumming 1:22 to 1:32 joined in by underlying beat and additional female croons from 1:33 to 1:45

1st stanza

The composition pattern from 1:45 to 1:57 is amusing.

The underlying quick likeable piano keys behind Arijit's lines from 1:57 to 2:10 have a Prince of Persia haunt feel to them and take the lister to a warm zone whereby caves with bonfires burning in them.

The composition pattern of Arijit's line, HAI-AAAAAI (prolonged abrupt up twist) from 2:07 to 2:12 comes from pre ABA style of melody.

Nice high pitched quick piano key flick at 2:17

Between 1st & 2nd stanza, the Brass Ens piece plays from 3:08 to 3:20

2nd stanza

Neeti's lines are prolonged and she does well to sing them continuously non stop at one stretch. The idea of this poetic lullaby singing whereby the heroine is expressing her thoughts in a casual chit chat way is inspired from Alka Yagnik's portion in JAB KABHI from 36 CHINA TOWN.

The underlying quick likeable piano keys behind Neeti's lines from 3:23 to 3:40 have a Prince of Persia haunt feel to them and take the lister to a warm zone whereby caves with bonfires burning in them.

Neeti sings her lines from 3:20 to 3:34 with subtle feel vocals in low Alto pitch range.

The vocal and instrumental effect in Neeti's line, WAJAH HOTI HAI-AAAAI from 3:53 to 3:59 is similar to vocal and instrumental effect from 3:04 to 3:09 & 4:25 to 4:30 in SARI SARI RAAT from KHILADI 786.

Neeti's line, MEIN-EN (awesome composition notes) from 4:06 to 4:07

Neeti's lines from 4:10 to 4:21 have a deja-vu feel in them.

Nice high pitched quick piano key flick at 4:28

Arijit's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 are the best lines in the song and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact.

Highlights of this song:

1. Arijit Singh's passionate feel good vocals and Neeti Mohan's passionate feel vocals.

2. Underlying beat comprising of thumping bongo hits and clap effect.

3. New age metallic guitar along with intermittent groovy sound at start, the quick likeable piano keys in the backdrop from 0:46 to 0:59 and underlying likeable quick Brass End hits from 1:00 to 1:20 along with the muhda hook line.

Wafa Ne Bewafai music video

Himesh's sad dejected face look when he is sitting on the steps from 1:13 to 1:14 reminds of Himesh sitting dejectedly on the steps in SAMJHO NA music video from AAP KA SUROOR.

Teri Yaad

The song begins with a party themed tune, joined in with clap effect from 0:07 to 0:29

Neseeruddin Shah's line, KYA LOVE STORY HAI...MAUT TOH BANTI HAI is hilarious.

Himesh overlooks Yo Yo Honey Singh and opts for Baadshah of Abhi Toh Party Shuru Hui Hai and Saturday Saturday fame.

The vibrant trance tune along with Badshah's rap from 0:31 to 0:46 builds up the song.

Baadshah's line, KYON (taunting intimidating aggressive rap) at 0:38

The wicked bansuri piece plays from 0:47 to 0:54 along with Calypso beat.

The combo of clap effect, party themed tune and Himesh's intro mukhda vocals from 0:55 to 1:10 build up the song.

The accelerating hits along with underlying profound bazz sound from 1:10 to 1:13 kickstart proceedings.

The song is in full form from 1:14 onwards when the free flowing remix beat kicks in.

Himesh's vocals after mixing sound like makhan with malaai maar ke like smooth Butterscotch.

Between mukhda & 1st stanza, a wicked twisted and distorted tune plays from 1:37 to 1:44, Baadshah is back with his rap from 1:52 to 2:07 along with wicked bansuri theme piece, whereby the lines JOH HONA THA WOH HO GAYA seem relevant to the films narrative. Baadshah's rap is decent but not outstanding, and his this portion is the best of all portions. The start stop gap effect in unplugged mode followed by bazz sound from 2:07 to 2:09 is likeable.

1st stanza

Intermittent wicked short shehnayi piece in the backdrop is likeable in the overall context and catches the listener's pulse. 

Between 1st & 2nd stanza, Badshah is back with his rap from 2:42 to 2:58 in unplugged mode followed by wicked bansuri piece with underlying Calypso beat from 2:58 to 3:05, the start stop gap effect in unplugged mode followed by bazz sound from 3:05 to 3:08 catches the listener's pulse.

2nd stanza

Intermittent wicked short shehnayi piece in the backdrop is likeable in the overall context and catches the listener's pulse.

Himesh's line, HAI KASHISH (off-da-hook computerized wave effect) at 3:20 which actually signifies the meaning of Kashish by way of sound. 

The song rather ends abruptly when the wicked bansuri theme piece cuts off abruptly.

Highlights of this song:

1. Himesh's mixed vocals that sound like makhan with malaai maar ke.

2. Underlying free flowing remix beat, combo of wicked bansuri piece and calpyso beat. 

3. Start stop gap effect in unplugged mode followed by bazz sound from 3:05 to 3:08 in between 2nd stanza gap.

4. Baadshah's decent rap, especially in between 1st stanza gap.

Teri Yaad music video

The music video is slick with high octane camera angle shots with a punch of Adrenaline Nitrate.

Naseeruddin Shah's dialogue, KYA LOVE STORY HAI...MAUT TOH BANTI HAI from 0:20 to 0:22 is hilarious.

Naseeruddin Shah enacting the playing of bansuri piece from 0:38 to 0:39 & 1:35 to 1:36 is cult.

Adhuri Zindagi

The song begins with a new age metallic guitar theme piece.

Himesh gives another promised break to newcomer Rituraj Mohanty.

Rituraj sings the intro lines from 0:13 to 0:26 with passionate feel.

His rising lines, YEH ILTIJA HAI TUJHSE MERI from 0:27 to 0:33 build up the song.

The guitar roars from 0:32 to 0:33

Rituraj's line, MERI-IIIII (off-da-hook twist) from 0:31 to 0:33 & 0:51 to 0:53

Rituraj's line, HAI (super passionate feel) at 0:29 & 0:49, RAHU (super passionate feel) at 1:18

Rituraj's line, MUQAMAL (awesome arrogant feel) from 0:44 to 0:45

The underlying foot tapping heat Rock beat joins in from 0:34 onwards along with the hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL (nice lyrics) whereby the catchy funky guitar at 0:36, 0:42, 0:56 & 1:03 enhances the overall effect and catches the listener's pulse in context of the overall associated lines.

Between mukhda & 1st stanza, the upbeat vibrant mood of the song changes to laidback with the arrival of pleasant likeable chime keys from 2:03 to 2:16 in unplugged mode, the funky metallic guitar theme piece plays from 2:16 to 2:30 along with underlying Rock beat.

Between 1st & 2nd stanza, a funky metal guitar flanger piece plays from 4:09 to 4:21 that further enhances the Rock essense of this Rock ballad, followed by the funky metallic guitar theme piece from 4:22 to 4:36

1st & 2nd stanza

Proceedings get laidback with Rituraj's subtle desperation feel singing on a composition pattern from 2:32 to 2:58 & 4:37 to 5:03 which is uncharacteristic of Himesh, along with underlying laidback beat with intermittent sharp hits.

Thunder effect at 2:45 & 4:49

The vibrant metallic guitar piece that joins in from 2:46 to 2:56 & 4:51 to 5:02 to adds intensity to proceedings.

Quick heavy beat pattern from 2:57 to 2:58 & 5:03 to 5:04 is similar to the quick heavy beat pattern from 5:17 to 5:19 in KOLA LAKA VELLARI from WELCOME.

Proceedings get more intense from 2:58 & 5:04 onwards.

Rituraj's line, JHUKAAYA (asking for mannat outside Masjid) from 3:03 to 3:04, BHULAANA (asking for mannat outside Masjid) from 5:09 to 5:10

Highlights of this song:

1. Rituraj's passionate feel vocals with variations in intensity and subtleness.

2. Underlying rhythmic foot tapping Rock beat with a hard hit pattern.

3. Catchy funky guitar in mukhda hook line, pleasant likeable chime keys  in between 1st stanza gap and funky metal guitar flanger piece in between 2nd stanza gap.

Ishq Samundar Reloaded

The song starts with quick raw bongo drum hits along wih a sharp beat that joins in 0:04 onwards along with ASSALAM WALEKUM chants.

The beats gradually accelerate from 0:09 to 0:18

The RnB Hip Hop beat kicks in from 0:18 onwards.

The hilarious intimidating twisted tongued rap ROCK N ROLL BABY followed by funny sound effect from 0:30 to 0:31, 0:34 to 0:35 & 0:43 to 0:44 along with funny intermittent whistle piece which makes the listener smile from 0:28 to 0:45 is cult stuff.

The song builds up from 0:46 to 1:03 with dodgy wicked TAKE IT OFF chants and funny blabbering from 0:53 to 0:54 & 1:01 to 1:02 along with quick sharp semi plugged beat and bazz sound.

The hilarious portion from 0:27 to 1:02 is brainchild of a naughty Himesh.

A quick Arabic tune piece plays from 1:03 to 1:21 along with underlying thump beat effect, whereby the quick vocal interlude from 1:11 to 1:12 & 1:21 to 1:22 catches listener's pulse.

Kanika Kapoor is the perfect choice for this song which is or rather was tailormade for her. It can't be imagined that any other singer in today's generation could have sung it better than her.

Her penetrating vocals get to the listener, especially the line DEEDAR at 1:36

Arabic tune from 1:27 to 1:30 enhances the Arabian feel.

Kanika's line, USSE DIL KI BAAT BATA DEGA (naughty bindaas carefree vocals) from 1:40 to 1:42

Himesh nails it with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants in the hook line HAI ISHQ SAMANDAR DIL DE ANDHAR, ISHQ SAMANDAR DIL DE from 1:45 to 1:53 along with the underlying reloaded beat with a wicked quick skip pattern which gets the listener into the groove and feel it.

Between mukhda & 1st stanza, the Arabic tune along with underlying thump beat effect is back from 1:53 to 2:10

Stanza

Kanika's penetrating vocals get to the listener, especially the line KITNA AUR KAB TAB BHAAGEGA from 2:31 to 2:33

The vibrant metallic guitar from 2:17 to 2:21 enhances the zeal.

Quick raw Arabic drum roll hits from 2:18 to 2:20

Wicked reverse CD spin effect from 2:37 to 2:38

Himesh is back with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants in the hook line HAI ISHQ SAMANDAR DIL DE ANDHAR, ISHQ SAMANDAR DIL DE from 2:34 to 2:43 along with the underlying reloaded beat with a wicked quick skip pattern which gets the listener into the groove and feel it.

ASSALAM VALEKUM chants along with beat effect from 3:03 to 3:16 catches the listener's pulse in the manner it builds up with skip effect from 3:03 to 3:07 followed by full on off-da-hook wicked skip pattern from 3:08 to 3:16 which get to the listener and make them feel it.

The song ends with a wild male yell as if he doesn't give a damn shit.

Highlights of this song:

1. Himesh's Rwakin naarebaazi slogan based chants and Kanika Kapoor's penetrating vocals.

2. Underlying reloaded beat with a wicked quick skip pattern along with male mukhda hook.

3. Arabian tunes, vibrant metallic guitar, quick raw Arabic drum roll hits and wicked reverse CD spin effect.

4. The hilarious naughty portion at start from 0:27 to 1:02 and off-da-hook beat effect from 3:03 to 3:16

Ishq Samundar Reloaded music video

The girl stares intensely at Himesh as she approaches from 0:53 to 0:57, she looks chin up to give a side jawline pose from 1:57 to 2:00, Himesh's carries a guilt filled look from 2:58 to 3:07, From the audio version, it seemed that this would be a dance track whereby Himesh is going to showcase his 6 pack Abs with some Dhaasu steps in the male mukhda hook line ISHQ SAMUNDAR DIL DE ANDAR, but turned out that its music video was rather filled with sleaze and oomph factor, and was an elaboration of one of the naughty portions shown in the first teaser promo. Himesh's cheers pose by lifting the cup from 0:41 to 0:42 reminds of a similar scene in ICE CREAM from THE XPOSE where Himesh lifted the wine glass to say cheers.

Teri Yaad Reprise

The song begins with high pitched piano keys along with intermittent wind whoosh effect in unpugged mode until 0:20

The tenor theme piece joins in from 0:21 onwards and builds up the song.

The listener is completely caught unaware, surprised and astonished upon the arrival of the Rwakin sharp ABA Waltz beat from 0:31 onwards, and upon realization of the proceedings the listener is elated and over joyed with an instant upliftment of mood with anticipation that something special lies ahead in store.

What is even better and tops the iceing on the cake is that Himesh - the Sufi Rwak singer is back in top form with a vengeance.

Himesh's souful vocals have tadap and kashish in them.

The listener slowly gets into the zone with Himesh's intro mukhda lines, TERI YAAD HAI HAR JAGAH from 0:40 to 0:55 just as is the case whereby the listener slowly gets into da zone with opening mukhda lines AASHIQ BANAYA AAPNE in ABA TITLE TRAX.

The song is Rwakin and in full form from 0:57 onwards.

Himesh's line, HAR JAGAH (passionate sooth feel) from 0:46 to 0:48 & 0:54 to 0:55, gives the completeness effect to the preceeding mukhda line, the same way that the line TERE BIN gave the completeness effect to the preceeding mukhda lines in ABA TITLE TRAX.

Himesh's line, HAMAARA (prolonged Sufi Rwak twist) from 0:59 to 1:04, BEWAJAH (catchy note strikes a chord, gives completeness effect to preceeding line) from 1:05 to 1:06

The tune of mukhda line, AASHIQUI TUJHSE, YUHI NAHI HAI, KOI NA KOI 1:08 to 1:15 is inspired and reworked from the mukhda lines AASHIQ BANAYA AAPNE from ABA TITLE TRAX.

Himesh's line, YUN HI NAHI HAI (terrific arrogant feel) from 1:10 to 1:12

There is a continuously fluctuating new age haunt feel varying sprinker effect throughout the song which gives an Angel-ish mystic airy breezy feeling as if sprouts of heavenly smoke is being released above the clouds, which gives terrific scale to Himesh's vocals, especially behind the line, KOI NA KOI from 1:13 to 1:15 & 1:23 to 1:25

Himesh's line, TERI (halke se feel vocals) YAAD HAI (awesome desperation feel vocal rise followed by quick profound twist, pours heart out) HAR JAGAH (awesome passionate sooth feel, gives completeness effect to preceeding lines) from 1:29 to 1:35

Between mukhda & 1st stanza, Himesh croons the well structured heartfelt alaap with reminds of and is slightly inspired by the heartfelt alaap in TERE BIN CHAIN NA AAVE from KARZZZ, followed by quick intense violin piece from 1:59 to 2:07 and tenor theme piece from 2:07 to 2:17

1st stanza

The freeflowing composition pattern is likeable and the listener feels the combo of Himesh's vocals and underlying Waltz beat along with underlying haunt feel sprinkler effect which makes its presence felt.

The middle octave impact of Himesh's vocals really gets to the listener, especially the line JIS EHSAAS KOH LAFZON MEIN KEHNA from 2:28 to 2:35

Himesh's line, NAHI YEH-EEEE (prolonged sufi rwak twist) from 2:38 to 2:42, AB MERA (full of khalish, gives completeness effect to preceedng lines) from 2:43 to 2:45

Between 1st & 2nd stanza, a quick high pitched piano piece from 3:02 to 3:12 in unplugged mode is followed by tenor theme piece from 3:13 to 3:23 and Himesh's well structured prolonged heartfelt alaap from 3:23 to 3:34 along with underlying sharp Waltz beat.

2nd stanza

The freeflowing composition pattern is likeable and the listener feels the combo of Himesh's vocals and underlying Waltz beat along with underlying haunt feel sprinkler effect which makes its presence felt.

Himesh's line, BIKHRE DIN HAIN (terrific sooth feel, makhan vocals) from 3:47 to 3:49

The middle octave impact of Himesh's vocals really gets to the listener, especially the line BEPARWA HAI RAATEIN from 3:50 to 3:54

Himesh's line, AISI -EEEE (prolonged sufi rwak twist) from 3:56 to 4:01, BEPANAH (catchy note, gives completeness effect to preceedng lines) from 4:02 to 4:04

Himesh's line, HAI KASHISH (off-da-hook computerized wave effect) at 3:55 which actually signifies the meaning of Kashish by way of sound.

The song ends with Himesh's heartfelt alaap in unplugged mode followed by violin intertude and off-da-hook wavy sprinkler effect along with mysterious haunt feel sound from 5:03 onwards.

Highlights of this song:

1. Himesh's soulful Sufi Rwak vocals with tadap and kashish.

2. Underlying Rwakin ABA sharp Waltz beat.

3. New age haunt feel sprinkler effect that gives terrific scale.

4. Tenor theme piece, quick intense violin piece in between 1st stanza and quick high pitched piano piece in between 2nd stanza gap.

My Picks

1. Bekhudi & Teri Yaad Reprise - TIE

Bekhudi

The tune in terms of composition pattern comes from Himesh's Sufi Rwak school of music. One could have argued why Himesh himself did not get tempted to sing it, but if he had made his firm mind not to, then instead of giving it to any other protege singer he has already used in the past, Darshan was a good choice as there is freshness and most importantly Darshan has done full justice to the song. The best part of song is when it is in full Rwakin form with the additional full on foot tapping beats from 1:21 to 1:40, 3:30 to 3:51 & 5:07 to 5:27 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them. Darshan comes into his own in 2nd stanza with lines, JAZEERON SE (off-da-hook passionate sooth feel, goes soul searching), MERA (off-da-hook ghehraayi vocals) from 4:40 to 4:43, KAGAZON PE JAISE LIKHI HAI SIAYI (off-da-hook singing, pours his heart out) from 4:46 to 4:51, The song has off-da-hook rhythmic raw Matka beat pattern. Himesh has used well thought off and well structured instrumental pieces, like the violin theme piece, cello piece and groovy tune piece in between 1st stanza gap, and lovely piano piece in between 2nd stanza gap. Aditi Singh has complimented Darshan well with her super seductive vocals, to make the song sound more sultry. Mindblowing Urdu lyrics by Sameer Anjaan especially in stanzas to enhance the Sufi Rwak feel. The vibe and mood of this song is such that it is perfectly suited to hear at nite after dark. This song could have easily found itself in Kajraare album. Himesh has never and not yet given a Sufi Rwak song to Salman Khan. If Bekhudi is shot and picturized on Salman Khan, it can be of blockbuster level. Salman doesn't have to do much, just walk around with style and attitude, somewhere in rugged deserts and near mysterious caves and waterfalls.

Teri Yaad Reprise

An alternate title for this song could easily have been Aashiq Banaya Aapne Version 2. It is good that Himesh kept the same Rwakin sharp Waltz ABA beat in his music library for 11 years. The dosage effect of this song is jaise iska surroor dheere dheere chardta hai aur agar ek baar chad gaya toh phir badta jaata hai aur utarta hi nahi. The test of time will determine whether this song will enter Historic levels, but it is amongst the top and finest Sufi Rwak songs by Himesh. One of the key reasons for this is the underlying Rwakin sharp Waltz ABA beat which wins over the listener upon its arrival upon its onset. If this beat is substituted with another beat, then the effect of this song will reduce manifolds, but the mood, tempo and zone of composition was that it fitted perfectly with the ABA beat to create something special again. It's amazing that Shabbir Ahmed is the lyricist as he has incorporated some key words like AASHIQ, TANHA, KASHISH which were used by Sameer in Himesh's earlier Sufi Rwak compositions. Otherwise, without checking the credits one would assume that it is indeed Sameer Anjaan who is lyricist of this song. After hearing the original version (which ironically is the remix), the reprise version comes into its own big time, upon reducing the tempo of the composition whereby its impact is manifolds. Just as a sidenote in comparison, teri yaad reprise is a terrific song but ABA title trax is way better, original is original and is in an unmatched league of its own. Actually comparison shouldn't be really made in between them, but it arises due to the underlying rwakin sharp waltz beat, but overall great to relive that sufi rwak era again with this version.

P.S. - Bekhudi and Teri Yaad Reprise - TIE are ranked as joint best songs, but if only one has to be picked in between the two, then my personal fav of album is Bekhudi. The reason is that while both songs are from Himesh's top Sufi Rwak drawer, Teri Yaad Reprise sounds deja-vu in composition, orchestration and lyrics, but Bekhudi sounds fresh / novel, and is quite a dynamic song which is why it gets the extra brownie points in favor of it, that is subject to only if 1 best song MUST be chosen instead of a joint tie.

2. Teri Yaad, Main Woh Chaand, Ishq Samundar Reloaded & Wafa Ne Bewafai - TIE

Teri Yaad

This song could well be called Teri Yaad Remix, due to its underlying Calypso beat. Himesh has re-hashed and almagmated some of his top Sufi Rwak composition notes on the same scale but with a few twist in notes here and there, to revisit and pay homage to that era. It is a high octane Adrenaline Nitrate track. Himesh's vocals after mixing sound like makhan with malaai maar ke like smooth Butterscotch. Neseeruddin Shah's short vocal interlude at start is hilarious. Baadshah's rap is decent but not outstanding, whereby his portion in between stanza gap is the best of all portions. Intermittent wicked short shehnayi piece in the backdrop of stanza is likeable in the overall context and catches the listener's pulse. 

Main Woh Chaand

After Dard Dilon Ke and Baaton Koh Teri, Himesh completes the trilogy with this song in this genre, whereby all these three songs are works of an inspired Himesh. The combo of free flowing composition pattern, laidback rhythmic beat and passionate feel vocals makes for a pleasant hear whereby this song can be listened during a long drive on a calm evening. Darshan Raval has an underlying nasheela suroor in his vocals. He is the apt choice for this song as it brings in newness, after considering that otherwise Himesh would have opted for and most likely given this song to either Arijit Singh or Mohd Irfan, as the singing style and nuanances required for such a song is suited and tailormade for their genre. This song keeps on growing upon the listener with repeat hears. From this trilogy of Main Woh Chaand, Dard Dilon Ke and Baaton Koh Teri, the best is Main Woh Chaand, followed by Dard Dilon Ke and then Baaton Koh Teri. It seems like Himesh has found a new good versatile protege singer via musical reality shows as he can sing Arijit Singh / Mohd Irfan kind of songs like Main Woh Chaand, and Sufi Rwak styled compositions like Bekhudi. Hope that he lives up to this potential in future too.

Ishq Samundar Reloaded

This powerpacked song which is truly a reloaded version, or rather a Cult version is something that even the original composer would be proud. Although not an original, it is a song that fits in perfectly given the theme and narrative of the film, which has dark grey seductive shades in it. Upon hearing this song, the listeners check their playlist to see if they are hearing to the same soundtrax or flipped onto another one by mistake, later wonder if this song was included due to a fluke, mistake or error and that what kind of googly is this. The song is quite enjoyable and likeable but the question is that why would the makers want Ishq Samandar Reloaded (by reloading the original work of another composer) when the album is already loaded with his original songs. Despite this, still the listener does not mind to listen to this song at all, rather enjoys it but only questions its purpose and identity in this album. The listener may question and argue, why not have another Himesh song in its place, or another remix of Tera Suroor which could be used in promos to promote the film's title and build more audience association towards it. But this song may have been included instead purely from a commercial marketing strategy standpoint, so that the album has even a wider listener appeal since this cult song was quite popular in its days. Also, given the fact that Kanika Kapoor's massy item numbers are really doing well and her tone really suits this song, and the male portion really suits Himesh's high pitched voice and singing style, the makers decided to opt for it. Himesh has shown his fondness for DHEERE DHEERE SE MERI ZINDAGI MEIN AANA and he has often sung it in reality shows, but since that song was recently reworked on, so Himesh opted for another massy popular song instead that could be reworked and liked by Aam Junta. The male chants TAKE IT OFF BABY TAKE IT OFF and the listener wonders that take off what.

Wafa Ne Bewafai

Best part in song are Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 & Neeti's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact. The song's graph is quite scattered, widespread and all over the place thus having an undefintive lullaby narrative feel, as opposed to the usual stereotype composition which has a fixed pattern. The song could have had more impact if there could be an alternate arrangement instead of underlying thumping Bongo hits and distorted guitar strumming in the mukhda portion.

This song has traces of pre ABA styled melody, and it could have been more effective if the underlying heavy drum Bongo hits orchestration could have been replaced with trademark pre ABA title trax orchestration present in Himesh's pre ABA title tracks, and if it could have been sung by Udit Nayaran and Alka Yagnik. The results could be something different and to a higher level.

3. Adhuri Zindagi

The best part in song is the mukhda portion comprising of Rituraj's rising lines, YEH ILTIJA HAI (super fassionate feel) TUJHSE MERI-IIII (off-da-hook twist) from 0:27 to 0:33 & 0:48 to 0:53, followed by the underlying foot tapping heat Rock beat joins in from 0:34 onwards along with the hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL (nice lyrics) whereby the catchy funky guitar at 0:36, 0:42, 0:56, 1:03 enhances the overall effect and catches the listener's pulse in context of the overall associated lines. Pleasant likeable chime keys  in between 1st stanza gap and funky metal guitar flanger piece in between 2nd stanza gap. It is a song that could have easily fit in to LIFE IN A METRO album and seems to be a song from Pritam's stable.

Verdict

Composition

> Teri Yaad - Himesh has re-hashed and almagmated some of his top Sufi Rwak composition notes on the same scale but with a few twist in notes here and there, to revisit and pay homage to that era.

> Bekhudi - The tune in terms of composition pattern comes from Himesh's Sufi Rwak school of music. It has the trademark stamp but yet sounds so novel. It reminds of the good Kajaare days. Simple, well structured and yet so catchy repetitive composition hook pattern from 1:21 to 1:40, 3:30 to 3:50 & 5:06 to 5:27

> Adhuri Zindagi Hai - the composition pattern of rising mukhda lines, YEH ILTIJA HAI TUJHSE MERI-IIII (off-da-hook twist) from 0:27 to 0:33 & 0:48 to 0:53, followed by the likeable hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL

> Wafa Ne Bewafai - The composition pattern of Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 & Neeti's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern).

> Main Woh Chaand - The intro haunt feel mukhda lines from 0:20 to 0:35 are likeable and the mukhda line MEIN WOH CHAAND JISKA AASMAAN KOI AUR HAI is free flowing and well structured. 

Orchestration

> Teri Yaad Reprise - underlying Rwakin ABA sharp Waltz beat, continuously fluctuating haunt feel varying sprinker effect throughout the song which gives an Angel-ish mystic airy breezy feeling as if sprouts of heavenly smoke is being released above the clouds.

> Bekhudi - off-da-hook rhythmic raw Matka beat pattern, with additional Rwakin full on foot tapping beats from 1:21, 3:30 & 5:06 onwards that gets listener into da zone. Himesh has used well thought off and well structured instrumental pieces, like the violin theme piece, off-da-hook Roman Catholic styled grand cello piece that blows away the listener and groovy tune piece in between 1st stanza gap, and lovely piano piece in between 2nd stanza gap which sound novel.

> Adhuri Zindagi Hai - the catchy funky guitar at 0:36, 0:42, 0:56 & 1:03 which enhances the overall effect and catches the listener's pulse in context of the overall associated lines, pleasant likeable chime keys from 2:03 to 2:16 in between 1st stanza gap and funky metal guitar flanger piece from 4:09 to 4:21 in between 2nd stanza gap.

> Ishq Samundar Reloaded - beat effect from 3:03 to 3:16 catches the listener's pulse in the manner it builds up with skip effect from 3:03 to 3:07 followed by full on off-da-hook wicked skip pattern from 3:08 to 3:16 which gets to the listener and make them feel it, the underlying reloaded beat with a wicked quick skip pattern along with Himesh's mukhda hook line which gets the listener into the groove and feel it.

> Wafa Ne Bewafayi - the quick likeable piano keys in the backdrop from 0:46 to 0:59 and underlying likeable quick Brass End hits from 1:00 to 1:20 along with the muhda hook line.

Overall, the most standout orchestration is underlying Rwakin ABA sharp Waltz beat and continuously fluctuating new age haunt feel varying sprinker effect in Teri Yaad Reprise, and off-da-hook rhythmic raw Matka beat pattern, with additional full on beats from 1:21 onwards and off-da-hook Roman Catholic styled grand cello piece that blows away the listener in between 1st stanza of Bekhudi.

Singers

> Himesh is in top vintage form both in Teri Yaad with his soulful Sufi Rwak vocals with tadap and kashish and Ishq Samundar Reloaded with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants. Also, his supporting accompanying Alien-ish vocal alaap in Main Woh Chaand enhances the soulful feel.

> Darshan Raval does full justice to Bekhudi with his passionate feel vocals, especially in 2nd stanza where he comes into his own and sings with versatility and range in terms of varying feel, intonations and vocal throw whereby they strike a chord. He sings Main Woh Chaand with nasheela surror passionate feel vocals, which go with the song's mood. Both these songs give him a chance to express and showcase his credentials, unlike the party song Kheech Meri Photo in Sanam Teri Kasam which limited, restricted and confined him to sing in a stereotype zone. Himesh has made the lives of many protege singers from reality shows, like Vineet Singh and Aman Trikha that have mainly relied on him for most work. Now Himesh has given a solid debut playback platform to Darshan Raval and also taking him along for promotions. Himesh lives by his word. It seems like Himesh has found a new good versatile protege singer Darshan Raval via musical reality shows as he can sing Arijit Singh / Mohd Irfan kind of songs like Main Woh Chaand, and Sufi Rwak styled compositions like Bekhudi. Hope that he lives up to this potential in future too.

> Aditi Singh does full justice to Bekhudi with her super seductive passionate feel vocals in an intoxicated state, which were the requirements of a song with such mood, feel and zone.

> Kanika Kapoor is the perfectly apt choice and tailormade for Ishq Samundar Reloaded whereby her penetrating vocals get to the listener.

> ArijIt Singh goes about his trademark way in Wafa Ne Bewafai and Neeti Mohan compliments him ably in her prolonged lines which are rather difficult to sing all in one stretch. Suzanne D Mello does her trademark seductive feel croons.

> Rituraj makes a decent debut with passionate feel vocals with variations in intensity and subtleness.

Lyrics

> Bekhudi - mindblowing Urdu lyrics by Sameer Anjaan, especially in stanzas to enhance the Sufi Rwak feel. He has upped his writing game and taken his level higher in this song.

> Adhuri Zindagi Hai - nice mukhda hook lyrics ADHURI ZINDAGI HAI, TU KAR DE MUQAMAL.

> Teri Yaad - smart writing by Shabbir Ahmed by incorporating some key words like AASHIQ, TANHA, KASHISH, TERI YAAD SAATH HAI which were used in Himesh's earlier Sufi Rwak compositions.

> Main Woh Chaand - nice metamorphic lyrics, MAIN WOH CHAAND JISKA TERE BIN NA KOI ASMAAN, and VEERANIYON KA DIL MEIN LAVA JAALE in 2nd stanza.  

Conclusion

The USP of album is Teri Yaad Reprise and Bekhudi which are superhit chartbuster material, and enough to carry the album's weight on their shoulders. Add to that the high octane Teri Yaad (remix) and powerpacked kickass Ishq Samundar reloaded for the mass appeal, and decent accompaniment with Main Woh Chand, Adhuri Zindagi Hai and Wafa Ne Bewafai. Teri Yaad Reprise and Bekhudi are works of an original Himesh. Main Woh Chand is work of an inspired Himesh. Adhuri Zindagi Hai and Wafa Ne Bewafai are works of an unconventional Himesh whereby he shows his versatility. Ishq Samundar Reloaded is work of a market aware Himesh who knows the commercial sensibilities and wide audience mass appeal. Therefore, this album has something for everyone i.e. Teri Yaad both versions and Bekhudi for his hard core fan segment, Adhuri Zindagi Hai for rock listeners, Main Woh Chand and Wafa Ne Bewafai for passionate lovers, and Ishq Samundar reloaded for the aam junta.

After hearing Sufi Rwak songs like Bekhudi and Teri Yaad Reprise, it was a great move to retitle the film from Guns N Roses to Teraa Surroor, to cash in on the well established trademark Surroor brand and also tout the film as a sequel to AKS - The Moviee. Himesh started his career with traditional Indian styled melodies but he caught the listeners and his fans with an unexpected pleasant surprise when he shifted his sound domain to Sufi Rwak. This shift commands the ultimate respect for Himesh - the composer because he showed his hidden versatility and mastered Sufi Rwak to become an unmatched pioneer in this genre in Bollywood music scene. While he has repetitively shifted his sound domain in between, since he believes in reinventing himself after every couple of years, when he switched to massy music after Kajraare. But whenever he revisits the Sufi Rwak genre, his fans become elated as they get to relive that era again whereby the one of the most core strengths of Himesh - the composer comes to the forefront again, which is exclusive to him and cannot easily be ever emulated both as a Sufi Rwak composer and Sufi Rwak singer by others, as he understands the finest nuances of this genre and is blessed with an unconventional voice that is tailormade for this genre. So whenever he comes close or touches the benckmark of some of his previous best Sufi Rwak works, it's a musical treat for his fans and a reminder to listeners about who ruled in that era by refreshing their memories to his unparalled success in that era both as composer and singer.

Courtesy of Bekhudi and Teri Yaad Reprise which are songs from Himesh's top Sufi Rwak drawer and amongst his best songs right up there in between the time period gap since Hookah Bar released, this album ranks amongst Himesh's best filmi albums alongside Kajraare. The two best things about this album are Himesh - the pre ABA composer in Wafa Ne Bewafai n Himesh - the Sufi Rwak composer in Bekhudi.

Teraa Surroor Mash up

Darshan's 'Bekhudi' vocals are high modulated, and 'Main Woh Chand' vocals, Himesh's ' Ishq Samundar' vocals and Arijit Singh's 'Wafa Ne Bewafai' vocals are low modulated. It is the specialty of DJ Kiran Kamath to do such unconventional things. These modulations sound bit absurd and weird in the mix, but still overall result of his mashup is rwakin.

Adhuri Zindagi Hai - music video

one standout thing in this music video is Naseeruddin Shah's intense glare from 1:05 to 1:06 as he slowly looks up whilst reading the newspaper.

Main Woh Chand - Remix

best part of remix is the build up from 0:33 to 0:44...remix has been given light and easy treatment, and not a heavy dosage thumping treatment.

Ishq Samandar Reloaded - Video

The girl stares intensely at Himesh as she approaches from 0:53 to 0:57, like the way she looks chin up to give a side jawline pose from 1:57 to 2:00, Himesh's carries a guilt filled look from 2:58 to 3:07...but i thought that this would be a dance track whereby Himesh is going to do some Dhaasu steps in the male mukhda hook line, but turned out that this song was filled with sleaze, and was about one of the naughty portions shown in first promo.

Wafa Ne Bewafai Video

Makers are so tactful. As Himesh / Raghu closes the curtain to protect Farah Karimi / Tara from the intense hot sun rays, they take a close up of her cleavage at 0:40...maan na parega cameraman koh yaar.

Studio Unplugged

Standout performances on Aashiq Banaya Aapne...and Hookah Bar (lower scale).

 

 

 


 


 

 

Joomla! Debug Console

Session

Profile Information

Memory Usage

Database Queries