Music Review Analysis of Himesh Reshammiya's album Final Cut Of Director which is Hindi version of Tamil film Bommalattam.

Zindagi



Sunithi is the perfect choice for this song. She sings in lower Alto octave.

Sunithi's line, DARD (typical unique HR melody) at 0:03

The lines from 0:52 to 0:11 have traces of typical HR melody but in a new age avatar.

The underlying bass from 1:07 to 1:08 gives awesome scale.

Off-da-hook household bounce effect beat from 1:10 to 1:11

Sunithi's best line is, MUSKURAKE AANSUO KO JEELE (awesome lower octave twist) from 1;12 to 1;15

The song gives a 'stuck in the middle of nowhere / trance' feeling like Aashiquana Dil Hai from Aap Ka Surroor.

Dhola Dholiya



Afsar and Sneha Panth are perfect choices for this song.

The song starts in typical pre ABA fashion

What a terrific build up with trademark pre ABA feel good guitar riffs in semi plugged mode, followed by emotional feel raaga echo effect, along with rwakin combo of semi plugged beat and catchy guitar riff that slowly gets listener into da groove, followed by full underlying beat when the song kickstarts and gets into full flow.

The raaga echo effect from 4:54 to 4:56 has an emotional konnekt.

The hook line, JAANA NA DOOR (sooth feel) has traces of typical unique HR melody.

Afsar sounds so damn good with his mukhda lines in middle octave.

1st stanza

Himesh - the composer delivers HISTORIC stanza lines from 7:31 to 7:54 that are off-da-hook catchy and Afsal Rwaks it with his Historic middle octave vocals, creating a compotion - singing combo that totally wins over the listener. He is in top form with composition notes from his Top musical drawer.

Scale is perfect.

Afsar's line, TERE (terrific passionate feel) at 7:31

Sneha's lines, BADAKE (awesome profound twist), DEEWANA (awesome profound twist, BANAKE (awesome profound twist) from 7:56 to 8:00

2nd stanza

Himesh - the composer delivers HISTORIC stanza lines from 9:04 to 9:27 that are off-da-hook catchy and Afsal Rwaks it with his Historic middle octave vocals, creating a compotion - singing combo that totally wins over the listener. He is in top form with composition notes from his Top musical drawer.

Scale is perfect

Afsar's line, SAANSON (off-da-hook passionate sooth feel) at 9:05, JAADU RE-EEEE (off-da-hook middle octave khanaak twist blows away the listener) from 9:21 to 9:22

Sneha's line, DOOOR (awesome prolonged vibrato impact) from 9:37 to 9:38

Chakle Chakle



The underlying beat has a groovy Hip Hop swaying groove to it.

Akriti's lines, TERI CHAAHAT MERI SAATHI, HAI YAKEEN HAI KAHI BAAKI have traces of typical HR melody but in a new age avatar.

Akriti's line, DIL VICH RAKHLE-EEE (awesome penetrating feel impact echo twist) from 12:47 to 12:48

The mukhda hook line CHAK CHAK from is simple yet effective, making the listener sway to da groove.

This is a new age song, just like Cheena Re Cheena from Tom Dick N Harry.

Stanzas

They have simple yet effective composition pattern.

It is a Rwakin song, it actually released 8 years ago in 2008 in Tamil version, but this trendy new age Gen Y composition sounds so fresh and relevant in today's times and can be a rage in this era if it were to re-release in an out-and-out Hindi album. Song has got one of the most wickedest beat Himesh has ever used in his Hip Hop songs till date. The ferocious emphasis with which the female singer sings the mukhda hook line 'Chak Chak' is really likeable.

This is one of Himesh's Best song in Hip Hop genre till date. This song was perfect to be opening title track of Tom Dick N Harry which was loaded with trendy Hip Hop tracks like Zara Jhoom Jhoom, Tere Sang Ishq, Cheena Re. Tom Dick N Harry was a musical hit, meaning that people came to theaters not because of film or storyline, but mainly to watch the songs on big screen. Chakle Chakle would have been a feather in the cap of this album and a perfect additional fit, and would have further enhanced its cult status among the youth.

Aaha Aaha



It is a 'happy-go-lucky' peppy jovial track.

Himesh's line, CHAHIYE (typical unique HR melody echo effect) from 17:12 to 17:16 & 17:21 to 17:25

Manjeera's line, JAANEJAANA-AAAAA (awesome sudden voice drop) from 18:30 to 18:32 just like how a plane loses sudden altitude.

1st stanza

Himesh sings with his Sufi Rwak naarebaazi slogan based singing.

Himesh's line, TANHA (naarebazi slogal based singing echo effect) at 19:07 to 19:09, LAMHE (naarebazi slogal based singing echo effect) from 19:14 to 19:16

Himesh's line, TUM JOH (catchy Alienish repetive echo effect) from 19:54 to 20:17

Leja Leja



Sunithi is the perfect choice for this song and does justice to it with her husky voice.

Sunithi's line, RAANJHANA from 23:08 to 23:11, SAAJAANA from 23:16 to 23:29  have Arabian touch.

Awesome accompanying alaap by Jayesh Gandhi from 23:26 to 23:29

Stanza

The composition lines from 24:27 to 24:35 & 25:46 to 25:54 have hard core Sufi touch.

The orchestration build up towards the end from 26.47 onwards with grand intermittent bazz trumpet followed by off-da-hook fast drum doll beats and the beat the spins in off-da-hook circular loop, whereby one can imagine the Shiekh doing his Arabian dance thing on top of the terrace of his kingdom.

My Picks

1. Dhola Dholiya

Outstanding catchy composition by Himesh in the first stanza lines, Tere Sangh Maine Kaise Lagan Lagaayi Re, Tere Bina Suni Suni Lagdi Khudaayi Re, Tere Khwab Dekhu Mein To Sapno Ke Mele Mein, Teri Yaad Aye Mujhko Bheed Me Akele Mein from 7:31 to 7:54 and second stanza lines, Saanson Pe Likhi Hai Maine Prem Kahani Re, Tere Naam Kardi Maine Meri Zindagani Re, Teri Chaahaton Ka Mujhpe Chal Gaya Hai Jadoo Re, Meri Dhadkano Pe Nahi Ab Mera Hai Kaabu Re from 9:04 to 9;27

2. Chakle Chakle, Aaha Aaha

3. Zindagi, Leja Leja

Verdict



Composition

Best composition in soundtrax is Historic stanza lines of Dhola Dholiya. If Himesh ever re-uses this portion in his opening songs of his album or film as actor, it can yield epic chartbuster result for the song. Historic catchy stanzas in Dhola Dholiya from Final Cut Of Director are among 'finest all time best ever' composition patterns of HR, right among Top works of HR from his Top musical drawer, Himesh has hit sixer out of the park, a Home Run with this composition, if he uses this pattern in opening song of his private or filmy album, it will become raging chartbuster...lyrics like Tere Sang Maine Kaise Lagan Lagaayi Re, Tere Bina Suni Suni Lagdi Khudaayi Re, Tere Khwab Dekhu Main Toh Sapno Ke Meele Mein, Teri Yaad Aaye Mujhko Bheed Mein Akele Mein in 1st stanza, Saanson Pe Likhi Hai Maine Prem Kahaani Re, Tere Naam Kardi Maine Meri Zindagani Re, Teri Chaaton Ka Mujhpe Chal Gaya Hai Jaadu Re, Meri Dhadkano Pe Nahi Ab Mera Hai Kaabu Re in 2nd stanza, are Fantastic and male singer Afsar Rwaks it, his voice is so good.

Other top lines:

Dhola Dholiya: The mukhda hook line, JAANA NA DOOR (sooth feel) has traces of typical unique HR melody.

Aaha Aaha: Himesh's mukhda line, CHAHIYE (typical unique HR melody echo effect) from 17:12 to 17:16 & 17:21 to 17:25

Chakle Chakle: Akriti's lines, TERI CHAAHAT MERI SAATHI, HAI YAKEEN HAI KAHI BAAKI have traces of typical HR melody but in a new age avatar, The simple yet effective mukhda hook line CHAK CHAK, making the listener sway to da groove. Simple yet effective composition pattern in stanzas.

Zindagi: MUSKURAKE AANSUO KO JEELE (awesome lower octave twist) from 1:12 to 1:15

Orchestration

Refer to Bommalattam Tamil for full orchestration.

Conclusion

This is an experimental album where Himesh exploited his creative scope. In terms of the composition pattern, it is a mix of traces of typical unique HR melody along with the unconventional new age Himesh.

This album has pedestrian common man lyrics but that is understandable as it is a bilanguage album and translation lyrics from Tamil to Hindi needed to retain their original meaning. But if this album was polished up again with better lyrics and up-to-date orchestration, it could be even more effective. Nevertheless, a good album by Himesh where he was in his pre ABA zone and space while composing, along with adding and building it up with experimental unconventional new age patterns and elements. Songs like Dhola Dholiya (melodious ballad), Chakle Chakle and Aaha Aaha (both youth oriented) had the potential to be popular with tighter lyrics and beefed up polished orchestration.

HR's two songs from Final Cut Of Director (Hindi version of Bommalattam) have potential to be chartbusters if they were re-used in proper Hindi album with good promotion i.e. Dhola Dholiya and Chakle Chakle...in Dhola Dholiya, mukhda hook line 'O Mere Dhola Dholiya' can be removed from commercial perspective, remaining portion becomes the mukhda, and Tamil oriented instrumentation in between stanza gaps could be replaced with Hindi based orchestration...it can be a chartbuster melody, full of typical unique HR melody and Historic stanzas...Chakle Chakle catches pulse of youth, it has a wicked beat and needs replacement Gen Y lyrics on hookline 'Chakle Chakle' that they can relate with, along with polished up orchestration, it could be a rage with youth.












 

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