Don't Worry (Hey Ram)

The song is a catchy affair in its initial hearing and keeps on growing upon the listener upon subsequent repeat hears. It will pump up the listener and give them josh as they feel its beat.

Himesh – the composer is in his vintage pre ABA mode, in terms of full on orchestration and ‘deliberate feel good emphasis’ singing style that were evident in his club songs.  He shows that when it comes to RWAKIN a song, then he is right up there at the top and very few can catch him when he is in full form.

In terms of tempo, it is one of his fastest paced songs and a mast bindaas jhakass fadu track.

The funky guitar piece with quick repetitive echo effect along with quick triangle hits from 0.07 to 0.22 build up the song.

The Hing-lish lyrics are innovative and youth oriented.

The lines DON’T WORRY SAARE NEEYAM TODO ALL NIGHT PARTY KARTE JAO, DON’T WORRY DANCE NA AAYE PHIR BHI DESI THUMKA MAARE JAO, DON’T WORRY SAB KOH ATTITUDE DIKHAKE MASTI KARTE JAO have OFF-DA-HOOK quick catchy compositional notes, and Benny Dayal who has been a 'chuppa rustam' comes to the forefront and RWAKS it with his OFF-DA-HOOK deliberate feel good emphasis vocals on this tune which perfectly suits and is tailor made for him. He shows the true impact and potential of his vocals in this forte n genre of songs.

Benny’s line, JAOO-AAO (off-da-hook repetitive fading echo effect) 0.26 to 0.28, 0.33 to 0.35 & 0.40 to 0.42

An underlying bazz sound joins in from 0.44 onwards.

Benny’s lines, BHOOL JA, TENSION KO, AUR DANCE (OFF-DA-HOOK arrogant feel vocals with fulltu attitude), LE DIL SE in between 0.44 & 0.50 have OFF-DA-HOOK high pitched intense emphasis vocals with purpose n cause.

Benny’s line, NAA-AAAAAAM (prolonged croon) in unplugged mode from 0.50 to 0.52 further builds up the song.

The song picks steam from 0.53 to 1.00 & 1.37 to 1.43 as Himesh NAILS IT with the orchestration as far as the underlying foot tapping rhythmic beat is concerned, which is made of an OFF-DA-HOOK heavy African drum hit pattern with thump effect.

The song becomes RWAKIN and is in FULL FORM upon the arrival of HEAVIER set of underlying raw heavy African drum thump hit pattern from 1.01 to 1.08 & 1.43 to 1.58 which gives the KILL effect, rhythmic foot tapping kick to the listeners and is perfect to test out their woofers.

The core mukhda repetitive hook line with slogan like chants HEY RAAM * 2 HEY KRISHNA HEY RAAM is composed of only 2 repetitive notes but still makes its impact due its SYNC with the heavy orchestration which gets the listener into the rhythmic groove.

The cult male croons in the backdrop from 1.08 to 1.15, and throughout the song in an intermittent repetitive loop are signaled to be the modern new age cult way of chanting.

Between mukhda & 1st stanza, the funky guitar piece with quick repetitive echo effect is back in unplugged mode from 2.00 to 2.06

1st stanza

The arrival of the OFF-DA-HOOK underlying raw heavy African drum thump hit pattern from 2.07 onwards makes the song RWAKIN again, and the sudden manner in which it kicks in after the start-stop gap after the unplugged mode makes an even more profound impact.

The composition pattern on Benny’s lines from 2.07 to 2.21 is simple, well structured and catchy, and he sings it with his off-da-hook deliberate feel good emphasis vocals, thus uplifting the spiritual mood of the listeners and getting them into za zone.

The feel good composition pattern along with feel good vocals from 2.22 to 2.28 further enhances the BINDAAS mood and nature of the song.

Between 1st & 2nd stanza, Arya does his thing along with Hip Hop RnB beats, whereby his feel good rap reminds of his similar feel good rap in between 2nd stanza gap in DIL DE DIYA HAI from PHIR HERA PHERI, along with off-da-hook cutting edge profound quick instrumental effect at 3.20 & 3.26

2nd stanza

It is better than the 1st stanza, as far as the impact of Benny’s vocals is concerned, especially the lines JIYE JAAYE from 3.35 to 3.37 & PIYE JAAYE from 3.44 to 3.45

The arrival of the OFF-DA-HOOK underlying raw heavy African drum thump hit pattern from 3.34 onwards makes the song RWAKIN again, and the sudden manner in which it kicks in after the start-stop gap after the unplugged mode makes an even more profound impact.

The composition pattern on Benny’s lines from 3.34 to 3.48 is simple, well structured and catchy, and he sings it with his off-da-hook deliberate feel good emphasis, thus uplifting the spiritual mood of the listeners and getting them into za zone.

The feel good composition pattern along with feel good vocals from 3.49 to 3.56 further enhances the BINDAAS mood and nature of the song.

The song ends with funky guitar piece in unplugged mode.

Highlights of this song:

1. Mr. Benny’s off-da-hook deliberate feel good emphasis vocals with bindaas attitude.

2. Off-da-hook underlying foot tapping rhythmic raw heavy African drum thump hit pattern which is the instrumental USP of this song.

3. Funky guitar piece and underlying fluctuating bazz sound.

4. Arya’s feel good rap in 2nd stanza gap along with Hip Hop RnB beats.

5. Innovative youth oriented Hing-lish lyrics.

In terms of the specific school of singing style, Himesh has asked Benny to sing with deliberate feel good emphasis vocals the way he asked KK n Shaan to sing his pre ABA club numbers like NIKAMMA KIYA from KYA DIL NE KAHAA, MOHABBAT HAI MIRCHI from CHURA LIYAA HAI TUMNE, AADAT HO CHUKI from KOI AAP SA, and his own deliberate feel good emphasis vocals in post ABA songs like stanzas of SISAK SISAK KE from KARZZZZ, lines EVER SINCE YOU'V BEEN AROUND...KARDU PYAAR KI MEIN BARSAAT from 1.59 to 2.08 in CHHED DE PYAAR DI BAAT from AAP KA SUROOR, U R ALWAYZ ON MY MIND from 0.42 to 0.57, 1.06 to 1.13 & 1.26 to 1.27 in AFSANA BANGAYA GOON from AAP KI KHATIR, HARI OM OM (core mukhda tag lines) from 1.35 to 1.58 in HARI OM from KARZZZZ, SARFAROSHI MILI TUJHSE HI SAATHIYA...BIN TERE BIN TERE JEENA JEENA HAI KYA from 0.38 to 0.57 in TERE SANG ISHQ from TOM DICK N HARRY, WITHOUT YOU OH BABY NO WAY from 0.56 to 0.23 in SAANWARIYA TERE BINA from ANTHONY KAUN HAI, core mukhda tag lines I LOVE U O SAYYONI, and I NEED MY SPACE from DAMADAMM.

Tu Hi Tu - Original

It is an addictive song which hooks infectiously onto the listener like anything with tremendous repeat hear value appeal, along with path breaking orchestration and the song commands respect (applies to both original n reprise).

The song begins with a pleasant mesmerizing bansuri piece with quick echo effect that gives a subtle somber mood to proceedings and a poise of meditation.

Another catchy ‘larger than life’ tune joins in from 0.14 to 0.28 to cause further build up.

The song picks up momentum with the arrival of the off-da-hook new-age cult rhythmic beat whose sound is representative of constant quick shaking n vibration of metal steel objects with an intermittent ‘start stop’ skip effect, along with intermittent clap effect and underlying thump effect from 0.29 onwards.

Off-da-hook underlying fluctuating bazz sound from 0.32 to 0.34 is joined in by a well structured catchy vibrant breezy funky acoustic guitar theme piece from 0.35 to 0.50 and this is commendable build up thus far up to this point.

Mohammad Irfan sings with utter honesty and dedication, bhaut shidat aur imandaari se gaaya hai.

His high pitched sharp vocals strike a chord and have a crispness, freshness n goonj that give an impression as if the devotee is on top of an open mountainous terrain on a mystic morning during dawn/sun rise with dew drops and having his direct one-to-one conversation with god by looking towards the sky with open extended hands. All in all, a pure / pavitra outing.

Irfan’s line, MERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord) from 0.52 to 0.53, SAWERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord) from 0.55 to 0.57

Irfan’s line, HO PHIR UJAALE YAH ANDHERE (typical unique HR melody wins over the listener) TU HAR PAL SAATH HAI MERE (typical unique HR melody wins over the listener) from 0.57 to 1.02 and this line has faint traces of the mukhda of TANHA JIYA NA JAAYE from TOM DICK N HARRY as far as typical unique HR melody is concerned.

Himesh mixes and fine tunes the famous old-age core mukhda repetitive hook lines HARE RAMA, HARE KRISHNA, KRISHNA KRISHNA, HARE HARE seamlessly from 1.03 to 1.17 with the rest of his tune.

Between mukhda & 1st stanza, the well structured catchy vibrant breezy funky acoustic guitar theme piece is back from 1.18 to 1.31, and is joined in by the underlying fluctuating bazz sound from 1.24 onwards.

1st stanza

The simple, well structured lines are effective and accentuate the flow of the song.

Off-da-hook new-age fluctuating groovy tune plays in the background from 1.31 to 1.46

Irfan’s line, HO PHIR UJAALE YAH PHIR ANDHERE (typical unique HR melody wins over the listener) TU HAR PAL SAATH HAI MERE (typical unique HR melody wins over the listener) from 1.52 to 1.58 is actually the best melody of the song.

Lyrics like 'ho phir ujale ya phir andhere, tu har pal saath hai mere' are outstanding.

Between 1st & 2nd stanza, the catchy OMG soundtrax from 2.13 to 2.26 spiritually konnekts with the listener and makes them feel the power and presence of divine intervention big time.

2nd stanza

The simple, well structured lines are effective and accentuate the flow of the song.

Off-da-hook new-age fluctuating groovy tune plays in the background from 2.28 to 2.40

Irfan’s line, HO PHIR UJAALE YAH PHIR ANDHERE (typical unique HR melody wins over the listener) TU HAR PAL SAATH HAI MERE (typical unique HR melody wins over the listener) from 2.48 to 2.53 is actually the best melody of the song.

The well structured funky acoustic guitar theme piece is back from 3.09 to 3.21, and is joined in by the underlying fluctuating bazz sound from 3.15 onwards, followed by the extended catchy OMG soundtrax from 3.22 onwards that spiritually konnekts with the listener and makes them feel the power and presence of divine intervention big time.

The song ends with the vibrant breezy acoustic guitar in unplugged mode.

Highlights of this song:

1. Irfan’s high pitched sharp vocals strike a chord, and he sings with honesty and dedication.

2. Off-da-hook new-age cult rhythmic beat whose sound is representative of constant quick shaking n vibration of metal steel objects with an intermittent ‘start stop’ skip effect, along with intermittent clap effect and underlying thump effect.

3. Pleasant mesmerizing bansuri piece with quick echo effect, well structured funky acoustic guitar theme piece, off-da-hook underlying fluctuating bazz sound and off-da-hook new-age fluctuating groovy background tune in the stanzas.

4. Catcy OMG soundtrax in between 2nd stanza gap and towards the end of song, which spiritually konnekts with the listener and makes them feel the power and presence of divine intervention big time.

5. Outstanding lyrics like 'ho phir ujale ya phir andhere, tu har pal saath hai mere'.

In terms of orchestration, this is modern contemporary cutting edge new age stuff by HR 2.0

N.B = the orchestration described for the original also applies to the reprise, since it is the same in both versions.

Tu Hi Tu - Reprise

Since the orchestration is the same as in the Original, comparison is made between the singing style to rate which version is better.

The Reprise version is BETTER than the Original version, and the KEY DIFFERENCE why the reprise version outscores the original is due to the fact that Suraj’s vocals have a KASHISH joh seedha dil pe lagta hai, especially in the manner that he has sings his stand out lines:

Suraj’s line, MERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord) from 0.52 to 0.53, SAWERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord) from 0.55 to 0.57

Suraj’s line, HO PHIR UJAALE YAH PHIR ANDHERE (typical unique HR melody wins over the listener) TU HAR PAL SAATH HAI MERE (typical unique HR melody wins over the listener) from 0.57 to 1.02

Same thing can be said for Suraj Jagan, that he sings with utter honesty and dedication, bhaut shidat aur imandaari se gaaya hai.

His high pitched sharp vocals strike a chord and have a crispness, freshness n goonj that give an impression as if the devotee is on top of an open mountainous terrain on a mystic morning during dawn/sun rise with dew drops and having his direct one-to-one conversation with god by looking towards the sky with open extended hands. All in all, a pure / pavitra outing.

Tu Hi Tu - Unplugged

The unplugged version has more calmness and poise to it.

The standout orchestration is the catchy laidback fluctuating guitar strumming from 0.29 to 0.42, 1.10 to 1.17 & 2.54 to end

The additional croons join in the chant from 1.45 to 1.58 & 2.40 to 2.54

The mesmerizing bansuri plays from 1.59 to 2.13

Ash King does a fine job.

The reason why both the Original and Reprise versions are better than the unplugged versions is because of difference in orchestration and the singing style

i.e. while Ash King sings with feel good vocals along with subtle minimalistic orchestration which sends the listener into a nostalgic meditation mode, Suraj n Irfan sing with sharp intense emphasis vocals which strike a chord, along with full on orchestration. Both these combined elements give catchier soulful impact and greater purpose, urgency n cause with regards to the devotee’s chant in god’s name in terms of trying to establish a ‘one-to-one’ konnekt with him.

OMG Soundtrax

It is a HISTORIC musically re-arranged divine masterpiece which konnekts with and bowls over the listener.

Himesh brilliantly musically re-arranges the famous old repetitive hook tag line HARE RAMA HARE KRISHNA with mind blowing output that spiritually konnekts with the listener and makes them feel the power and presence of divine intervention big time.

The build up with mesmerising bansuri that gives a divine feel followed by a larger than life catchy tune from start to 0.27 is tremendous.

Off-da-hook rhythmic beats with an intermittent skip effect, along with the heavenly divine subtle flute piece that kick in suddenly from 0.28 onwards have a GRAND LARGER THAN LIFE and a DIVINE FEEL to it, as if God (Lord Krishna) himself is descending from the heavens towards the Earth along with spiritual white background light, jaise ke swayam bhagwaan dharti pe praghat ho rahe hain aur sakshaat darshan dikha rahe hain.

The quick temple bells join in from 0.57 onwards.

Zubeen Garg does a fine job by chanting the famous old repetitive hook tag line HARE RAMA, HARE KRISHNA, KRISHNA KRISHNA, HARE HARE.

Its USP is the gradual build up until 0.28 followed by sudden kill effect from 0.28 onwards.

Best time to hear it in repeat mode is at dawn (during sunrise) which will give a divine beginning to the listeners day and at dusk (during sunset) which will mark off a divine end to the listeners day.

N.B = Please refer to the above description wherever OMG Soundtrax is used in Tu Hi Tu i.e. in between 2nd stanza gap and towards the end.

Go Go Govinda - Original

Himesh has zeroed in on the orchestration first since the genre and theme of song warrants more focus on rhythm, in the sense that he first finalized and selected the mast jhakass kickass foot tapping rhythmic BODYGUARD TITLE TRAX beats by calibrating them to a slightly slower tempo.

The most ironic part of the tune (as far as the vocals go) is that it is nowhere near brand Himesh and doesn't have the trademark Himesh stamp anywhere. Hence, he has taken a different approach altogether in terms of compositional style which is basically supposed to fall in his Alien zone and not representative of him whatsoever. Therefore, he throws in an unexpected googly in this regard. Having said that, it takes repeat hears for the listeners to get the hang of this new style and get settled to it, whereby they get into the song's zone after a period of time. 

However, his choice n selection of such ‘quick n simple’ compositional notes is justified, because most importantly they go in SYNC with the beats, and it is difficult to fit in his trademark compositional style with the tempo of such beats, unless the tempo is altered but which again could affect the intended rhythm that Himesh envisaged for this song in the first place.

The song begins with funky wicked synth bazz sound in unplugged mode that was similarly used (the sound, not the pattern) at 0.00, 0.05 & 0.10 in SONIYE JE TERE from KARZZZZ, and from 0.16 to 0.17 in KAJRAARE TITLE TRAX.

The peppy catchy theme piece that sounds like Shehnayi joins in from 0.02 onwards along with energetic pumped up male vocals GO GO GOVINDA.  [N.B. = though its not a shehnayi, but for convenience sake n familiarity of sound resemblance, it is put as 'Shehnayi sounding' theme piece, especially when its played in a peppy way as opposed to the usual default saddistic way with a sad untertone]

The profound heavy drum hits with a thump effect along with clap effect joins in from 0.17 onwards.

Mika is the perfect choice for this song and nobody else could have sung it better than him. This is because his singing style perfectly suits and is tailor made for this composition. Woh jis tarah se NASHEELI awaaz mein quick words koh twist karta hai, that makes it more effective on the given compositional notes.

Mika’s lines, MATAKE JHATAKE (OFF-DA-HOOK singing with nasheela suroor) from 0.31 to 0.32 & 0.39 to 0.40, TU AAJ SHOLA TOH (OFF-DA-HOOK singing with nasheela suroor) from 0.32 to 0.33 & 0.40 to 0.41

The quick drum hits (with the finishing sound effect as if the drum is tapped quickly n repetitively initially from the middle and then gradually towards the side) from 0.52 to 0.55 give the completeness effect to Mika’s preceding line.

The peppy Shehnayi sounding theme piece is back from 0.55 to 1.08 along with energetic pumped up male vocals GO GO GOVINDA.

Shreya basically has a total blast behind the mike as she goes all out with her vocals and fully expresses herself. She makes the listener smile with her singing antics, and sings this song with the right required desired mood and attitude. 

Shreya’s line, OO-OO-OO-OO (awesome voice fluctuation) from 1.08 to 1.10

By now the song is in full form, and Shreya’s lines, ATAKE MATKE JHATKE along with mast jhakaas kickass foot tapping Bodyguard styled beats from 1.10 onwards get the listeners swaying into the rhythmic zone whereby they feel both the vocals and the beats.

Shreya’s line, HUM-MMMMM (OFF-DA-HOOK prolonged vocal deepening emphasis with sudden abrupt higher note leave gives kick) from 1.15 to 1.16

Naughty Shreya’s line, AAEEE (awesome mischievous vocals, wah kya kamsin aadayein hai) at 1.17 catches the listener’s pulse.

Shreya’s line, HUM-MMMMM (OFF-DA-HOOK prolonged vocal deepening emphasis with dying effect) from 1.24 to 1.25

Shreya’s line, HAA-AHA (awesome mischievous vocals, representative of a bindaas girl who is high on bhang and enjoying her outing) from 1.33 to 1.34

Between mukhda & 1st stanza, the peppy Shehnayi sounding theme piece is back from 1.34 to 1.48 along with energetic pumped up male vocals GO GO GOVINDA.

1st stanza

The profound heavy drum hits with thump effect play in background.

The tune from 1.49 to 2.02 has a déjà-vu feel to it and without any trademark Himesh stamp or typical unique HR melody.

Mika’s line, SAT (OFF-DA-HOOK emphasis singing, yeh Mika ka anokha andaaz hai with his vintage style) RANGEE at 2.05

Mischievous Shreya’s line, OYE * 4 (awesome gradually rising cheeky vocals) from 2.24 to 2.26

Between 1st & 2nd stanza, a simple but quite catchy interior down town tune plays from 2.50 to 2.57 followed by peppy Shehnayi piece from 2.58 to 3.05 along with peppy Bodyguard whistle piece which makes the listener go ‘jhoom barabar jhoom’ in ecstasy.

2nd stanza

It is better than the 1st stanza, even in terms of the lyrics.

The profound heavy drum hits with thump effect play in background.

The tune from 3.06 to 3.19 has a déjà-vu feel to it and without any trademark Himesh stamp or typical unique HR melody.

Shreya’s line, DEEWAAN-GEE-HAAI (sung with attitude) from 3.08 to 3.09

Mika Singh sounds very fresh n crisp and applies his finesse of his nasheela suroor in lines from 3.20 to 3.27, with emphasis on his line AAJ (OFF-DA-HOOK tongue-twisted vocals) at 3.20 & 3.24

Naughty Shreya’s line, HA HA AHA (cheeky mischievous vocals) from 3.57 to 3.58

Shreya’s line, HUM-MMMM-AAA (OFF-DA-HOOK vocal deepening in arrogant rebellious mode as if the girl is full high on Bhang) from 4.04 to 4.05

Finally it’s time to break the Pot, when the male yells ‘AE MATKI TOD RE’ from 4.30 to 4.33 in bindaas tapori ishtyle, along with a ‘start-stop’ gap which signifies the silence of proceedings as if everyone listens closely and pays attention to obey his command and mandate.

The energy levels rise from this point onwards as the tempo of the song increases and the rhythmic beats and intermittent heavy drum hits become more aggressive from 4.33 onwards as if to give an outcome and anjaam to the ultimate ‘matki tod’ step sequence process.    

Highlights of this song:

1. Mika Singh’s tongue-twisted vocals with nasheela suroor.

2. Shreya Goshal’s full on masti filled bindass vocals.

3. Mast jhakass kickass Bodyguard styled rhythmic foot tapping rhythmic beats, funky wicked synth bazz sound at start, peppy Shehnayi sounding theme piece, profound heavy drum hits with thump effect and clap effect, peppy bodyguard whistle piece and the simple but quite catchy interior down town tune in between 2nd stanza gap.

Go Go Govinda - Reprise

With all due respect, Aman is a talented upcoming singer who is also one of the contestants in the musical reality show Sur Kshetra. He had also done a fine job in the 1st stanza alaap of JAB SE DEKHI HAI from BOL BACHCHAN, where his vocals sounded pristine.

It is great to see that Himesh bhai is giving break and oppurunities to a singer with tremendous potential and this version is bound to do well.

My Picks

Originals

1. Don’t Worry & Tu Hi Tu (Original n Reprise) – TIE

Both songs are heading on their way to becoming chartbusters.

N.B. = as far as the rankings of versions of the individual Tu Hi Tu song go, the Reprise is better than the Original based upon the singing style between the 2 versions. However, in the broader perspective both original n reprise versions are tied with Don’t worry (and not only the Reprise version) because in combined totality of the orchestration n singing style, Tu Hi Tu Original also matches up to Don’t Worry.

In terms of compositional notes, Tu Hi Tu is more melodious than Don’t Worry (Hey Ram) and it has two USPs. Firstly its mukhda lines, MERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord), SAWERE-EEEE (OFF-DA-HOOK fulltu high pitched vocal twist strikes a chord), HO PHIR UJAALE YAH ANDHERE (typical unique HR melody wins over the listener) TU HAR PAL SAATH HAI MERE (typical unique HR melody wins over the listener). Secondly, catchy OMG soundtrax in between 2nd stanza gap and towards the end of song, which spiritually konnekts with the listener and makes them feel the power and presence of divine intervention big time. Tu Hi Tu is Himesh's best work of the year thus far, in overall combined terms of quality of music production, orchestration and tune.

Though it cannot really be termed as melodious, Don’t Worry (Hey Ram) is a ‘catchy foot tapping’ affair with 2 USPs. Firstly it is foot tapping due to the heavy African drum thump hit pattern and secondly it has off-da-hook feel good catchy typical unique HR melody and sung with deliberate feel good emphasis vocals. It is a likely candidate of becoming a youth anthem whereby Himesh has hit da bulls eye. Music videos of original n remix versions should catch on like wildfire. Ek dum fadu hone chahiye aur dhoom macha denge with super kool wicked funky dance moves, also keeping in mind that they will be picturised on Akki who is a superstar with massive fan following in today’s date as the box office business of his recent films gone by suggest.

2. Go Go Govinda - Original

The reason why the Original version is better than the Reprise version basically comes down to the singing style. It is just that Mika Singh’s vocals with ‘nasheela suroor’ along with a tongue twisted pronunciation of words are tailor made and suited to the quick compositional style of notes. His ‘stand-out’ lines which further make this claim his finesse of his unique style in ‘anokha andaaz’ whereby he makes the song his very own:

> Mika’s lines, MATAKE JHATAKE (OFF-DA-HOOK singing with nasheela suroor) from 0.31 to 0.32 & 0.39 to 0.40, TU AAJ SHOLA TOH (OFF-DA-HOOK singing with nasheela suroor) from 0.32 to 0.33 & 0.40 to 0.41

> Mika’s line, SAT (OFF-DA-HOOK intense emphasis singing, yeh Mika ka anokha andaaz hai with his vintage style) RANGEE at 2.06

> Mika’s line, AAJ (OFF-DA-HOOK tongue-twisted vocals) at 3.20 & 3.24

His voice modulation gives an ‘additional zing’ to the original version.

3. Tu Hi Tu (Unplugged)

In terms of the both orchestration and singing, the original and reprise versions are better than the unplugged version.

4. Go Go Govinda - Reprise

When the listener listens to the Reprise version the very first time, the composition just goes above their head. On the contrary to the Original, the Reprise version sounds as if it belongs more to Shankar Mahadevan’s stable and sounds like a Shankar Mahadevan composition in initial hearing, especially the mukhda lines ATAKE MATAKE JHATAKE MAARE HAIN, TU AAJ SHOLA HAI TOH HUM BHI FUWARE HAIN, TU ASMAAN PE HAIN TOH CHAAND TAARE HAIN HUM, HAI KASAM TERI KASAM, TUJHE CHORENGE NA HUM-MMMMM from 0.30 to 0.54. Now, this again is ‘largely attributable’ to the style n scale of the compositional notes in the first place more than the actual singing.

N.B = OMG soundtrax is not ranked as it was a shortened medley / theme piece rather than a full song.

Tu Hi Tu - Versions

1. Tu Hi Tu - Reprise

2. Tu Hi Tu - Original

3. Tu Hi Tu - Unplugged

Remixes

The standard and level of remixes in Himesh albums has been on an exponential rise in his recent albums, which indicates that Himesh is pretty serious of the presence of remixes in terms of adding commercial value to his albums (and not just slotted there for the mere sake of it) in terms of further enhancing and extending the appeal of the originals, in terms of offering a quality alternative for listeners to shake a leg to them in the dance clubs.

1. Tu Hi Tu Remix

2. Don’t Worry (Hey Ram) Remix

Verdict - Go Go Govinda

Could this be the best ‘matki fod’ song that Himesh could ever compose! Well, definitely not. He is capable of coming up with a more ‘faadu’ song in terms of superior n richer melody, as some of his trademark works in the past suggest so. Its a 'mixed bag' song in the sense that the tune itself cannot really be labeled as ‘melodious’, but the catchy peppy instrumental pieces along with foot tapping rhythm compensate for that aspect and ensure that this bright fun loving tapori ishtyle song which is high in 'energy, zeal n vigor' will be favored by the masses. It is not a song that will linger n remain in people's memory in the long term or have tremendous repeat hear value over time, but will still achieve intended purpose i.e. it will be remembered and get air time at festive occasions, for what it was ideally made. If Himesh Reshammiya can sell a song like Go Go Govinda as a single, then he can sell anything.

The song will work for the following reasons:

> Its genre - Especially, this song will be liked more by the aam junta n masses because this kind of sound is the ‘in thing’ in todays musical market. Also, the song has a fast tempo which works in its favor.

> Audio Visual appeal - One of the undisputed top best choreographer n dancer of all time in India (Prabhu Deva) and an upcoming super star actress who has carved a niche for herself in the desi avatar (Sonakshi Sinha) shake a leg to this song, and their funky dance moves will give it a greater audio visual appeal. In dono ne is gaane pe ‘chaad chaand’ laga diye hain.

The BEST lyrics are:

> PATKE MATAKE JHATAKE MAARE HAI...ATAKE MATAKE JHATAKE MAARE HAIN - especially in context with the mast jhakass kickass Bodyguard styled foot tapping beats that get the listeners swaying to the rhythmic groove.

The CATCHIEST FOOT TAPPING part is:

> Shreya's mukhda lines from 1.10 to 1.24, 2.27 to 2.40 & 3.51 to 4.06 along with the mast jhakass kickass Bodyguard styled beats that give foot tapping kick.

The CATCHIEST tune piece is:

In between 2nd stanza gap - The simple but quite catchy interior down town tune from 2.50 to 2.57 followed by peppy Shehnayi piece from 2.58 to 3.05 along with peppy Bodyguard whistle piece which makes the listener go ‘jhoom barabar jhoom’ in ecstasy.

The WEAKEST compositional notes are:

> CHAHE DUM NIKLE YEH DUM, HAI KASAM TERI KASAM…TUJHE NA CHORENGE HUM - the style of compositional notes does not belong to Himesh Reshammiya’s stable at all. As a matter of fact, there is no trademark Himesh stamp or any ‘typical unique HR melody’ whatsoever.

> GYAARA BAARA TERA, BAD RAHA PAARA, BODY KA HAMAARA YAARA, GYAARA BAARA TERA…DEKHO NA HAMARE NEEM SE KARAARA NIKHLE YEH SHARAARA (in 1st stanza) & KYA YEH DILLAGI HAI, KYA YEH AASHIQUI HAI, MUD NA DEWAANGEE HAI…AAJ HAWAON MEIN, AAJ FIZAON MEIN…KAISI YEH TISHNAGEE HAI (in 2nd stanza)  - this is just not the compositional style of Himesh at all whatsoever, whereby those searching for trademark Himesh stamp or typical unique HR melody wonder in amusement that how did he come up with such compositional notes.

Singers:

As far as the singing is concerned, no other singer could have done better justice to the song other than Mika Singh and Shreya Goshal.

Also, while there are 2 versions but the song mainly belongs to Shreya Goshal who takes the center stage as she has the major lengthy portions. Nevertheless, the male vocals make their presence felt too.

Verdict - Full Album

The album which is near short n quite close of being total complete package in terms of having ample songs to keep the listeners engaged has a very FRESH audio appeal with variety, because Himesh has taken a new different versatile approach in terms of compositional style, used modern contemporary new age orchestration and also used diverse singers for various versions which whom he hadn’t worked previously before in the past. It posesses an X factor, uniqueness and something special about it.

Both Himesh  - the human being/person and Himesh - the composer will feel proud and humbled simultaneously to be part of such a divine project. At the same time, he is bound to win the hearts of his fans with this album, unhone apne fans ka dil jeet liya hai aur yeh album sun ke unke fans ka dil khush ho jayega aur unko maza aajayega. Now that is quite a feat considering that he hasn't sung a single song in this album in an era where his fans are totally addicted n used to listening n enjoying his vocals in abundance as was the recent case n trend whereby he used to croon all the tracks in his own films as per his policy decision which he recently overturned.

This is an album with a universal appeal which should ideally be liked by one and all. It is doing some serious damage control and repair as far as Himesh’s haters are concerned and its songs should go down well with them. Hence, it showcases the true versatility of Himesh, in terms of what limits, boundaries n perimeters he is capable of reaching in terms of delivering an ace soundtrax after even working out of his usual default comfort zone. Another aspect that heavily weighs in this album’s favor and furthers its cause to reach out is the fact that it is connected with god and his holy chants. On the back inlay cover of OMG album, it is written 'DIVINE MUSIC'. Does this line have any merit! Yes, it definitely does because of Tu Hi Tu (Original n Reprise) & OMG (Soundtrack).

Himesh proves all over again that he is no mug as far as orchestration is concerned, and his criteria n selection of instruments is justified and simply based on the situational backdrop n theme of project in question. Otherwise he has all the latest desired equipments for any B-town project in question. He has indeed raised the 'level of music' with this album and even the orchestration is many notches higher and infact in an altogether different league alltogether, when compared to the orchestration of some of his recent albums.

Talking of situation backdrop n theme, a conceptual plot like the one in OMG which is basically inspired and lifted from a theatrical play and transformed onto the big canvas, there really is not much scope for music whereby one would ideally have expected situational n predictable Aarti pieces, Hanuman Chalisa n/or other pure devotional songs. But Himesh thought out of the box and came up with songs that not only preserved n kept the divine angle intact, but mixed them with out and out commercial elements with modern new age sensibilities. Himesh shows all over again that why he is known as a phenomenon as he is capable of exceeding the listener’s expectations and pleasantly surprising them with a shift of sound domain. Therefore, the album SURPASSES all expectations whatsoever and its kudos to Himesh for coming up with a winner album that has its heart n soul in the right place. Hence, the soundtax is an added weapon and armory in terms of bringing the film in further limelight and increasing its box opening prospects. The tracks will also have major impact in the film as the various versions of Tu Hi Tu n OMG soundtrax will be interwoven into the integral storyline and thus appear in various portions and junctures, especially in highlighted scenes where Kanjibhai will have confrontations with lord Krishna or when he will feel god's presence on Earth, and the promotional songs Don't Worry (Hey Ram) n Go Go Govinda which will feature in opening and end title credits.

Even a song like Go Go Govinda may be having some déjà-vu style in its stanzas, but the Mika version does get the listener into the rhythmic foot tapping groove. The reprise version has done well too.

Himesh also has formed this inherent strategy whereby he is restricting himself as a singer in outside projects in which he isn’t acting, and only singing 1-2 songs at max. Also he is working with diverse singers. Due to the fact that he will be having a lot of back to back albums in the near future, Himesh is taking a good approach n moving in the right direction as far as this strategy is concerned, because despite the quantity of songs which will be released in future, it will not be an overkill as they will be diverse from each other and at the same time Himesh will retain the USP n exclusivity as a singer, whereby the effect n impact of his vocals won’t run the risk of being diluted and losing their potency.

It is heartening to see Himesh’s association with Akshay Kumar who is an A league actor, and perhaps due to their collaboration in Khiladi 786 is how Himesh landed up in this project, as it is Akki’s home production venture. Having said that, it is hoped that Himesh just RWAKS it in Khiladi 786!

Don't Worry (Hey Ram) - Remix

Its remix is RWAKIN and should be one of the favs amongst the youths in discotheques to do some super kool funky dance moves.

The underlying remix beat from 0.53 onwards has a full on thump effect.

Off-da-hook computerized vocal fluctuation effect from 0.38 to 0.45

Off-da-hook funky wicked hardcore electronika tune from 0.45 to 0.53 gets the listeners into da rhythmic groove.

Benny’s lines, JAO-AO (off-da-hook feel good repetitive vocal echo effect) from 1.04 to 1.07 & 1.12 to 1.14 strikes a chord and catches the listeners pulse.

The repetitive clap effect from 2.02 to 2.08 gets the listeners into da zone big time.

Off-da-hook computerized vocal rising effect from 2.13 to 2.16 was similarly used from 0.29 to 0.33 in SHABE FIRAQ REMIX from CHUP CHUP KE.

The constantly aggressive beat effect that accelerates in tempo from 2.38 to 2.53 & 3.15 to 3.22 is great build up.

The remix ends with a profound whoosh sound effect that gradually fades away.

Tu Hi Tu - Remix

Now this is one heck of a RWAKIN remix if there was ever one and it is catchy like hell. Remix ho toh aisa!

As a matter of fact, it is ‘one’ of the BEST EVER (or rather simply the best) remix to have ever come out in a Himesh album.

The remix packs in a solid punch of adrenaline nitrate.

It begins with a mysterious haunt feel sound until 0.03

The loud whispering croons with repetitive echo effect in between 0.10 to 0.16 & 0.23 to 0.30 strike a chord.

An ambient tune plays from 0.13 to 0.16

The killer soulful tune n croons from 0.17 to 0.42 just totally EMOTIONALLY KONNEKT BIG TIME with and TOTALLY WIN OVER the listener.

The remix gradually picks steam n momentum in terms of increasing tempo from 0.17 onwards as the aggressive beats constantly accelerate and become aggressive until 0.44 and give jazba.

The beat effect from 0.54 to 0.58, 1.51 to 1.54 & 3.28 to 3.31 gives intermittent kick.

The RWAKIN catchy remix elektronika tune from 1.00 to 1.26, 1.55 to 2.09, 2.50 to 3.03 & 3.32 to 3.59 is damn catchy whereby the remix is in full form.

The sound effects that cause the ‘build up’ in between 2nd stanza gap from 2.22 to 2.50 give a SURREAL feel.

Whirlwind whoosh effect from 3.05 to 3.07 depicts the turbulence in God’s planet.

The catchy fluctuating sound from 4.00 onwards slowly fades away with a ‘tunnel channeling/funneling’ effect, which gives an impression as if all the synergy collected from Moksha chants is channeled/funneled into an unknown dark tunnel and as it keeps on entering it and travelling to the other end, it fades away into mysterious white noise.