shaka_laka_boom_boom

Music review analysis of Himesh Reshammiya's album Shaka Laka Boom Boom (2007).

Shaka Laka Boom Boom

The song starts with a great sike building theme piece in unplugged mode.

The male rapper goes about about his business until himesh's SHARP KNIFE-EDGE vocals arrive, especially SHAKA LAKA LAKA that makes an impact.

The prolonged twists in lines tere BINAAAAAA from 1.08 to 1.09, aashiqui KAAAAAAAA from 1.16 to 1.17.

The intermittent SHAKALAKALAKA by the male rapper are great from 1.11 to 1.13 & 1.19 to 1.21.

The powerful HOOOO by male vocals at 1.24, 1.26, 1.28, 1.30, 2.09, 2.11, 2.13 & 2.15 along with descending tune sur in background is great overall effect.

The lines ZARA ZARA ZARA ZARA JHOOM (followed by lovely tune) is the most catchy part in mukhda and when writing /composing these lines, both Himesh and Sameer had the lines DIL ME MACHAADI TUNE DHOOM from ZARA JHOOM JHOOM in their mind.

After these feel good lines are the penetrating energy filled vocals and male rapper vocals from 1.37 to 1.38, 1.46 & 2.19 give an INTERNATIONAL feel to this song.

Akriti Kakkar beings some 'thehraav' in this song with her vocals and her line JAAN is good.

Between mukhda & 1st stanza, the rapper does his thing .

1st stanza

Himesh's vocals on YAAAAAR (prolonged twists) from 2.51 to 2.53 & 3.00 to 3.01 are very feel good.

Akriti's lines MAAN and KURBAAN are good.

Between 1st & 2nd stanza, the rap effect is quite good along with naughty tune.

2nd stanza

Himesh's vocals on YAAAAAR (prolonged twists) from 4.02 to 4.04 & 4.10 to 4.11 are very feel good.

Akriki's lines TUFAAN and ANJAAN are good.

The tune from 4.31 to 4.32 is mesmerizing.

The rap is powerful at lines EVERYBODY GO BOOM (emphasis).

The unplugged theme that is purely for sike purposes ends the song.

Highlights of this song:

1. Himesh's SHARP KNIFE-EDGE vocals, the male rapper and additional male vocals providing sahi desired effect.

2. The theme piece tune, mesmerizing tune from 4.31 to 4.32 and descending tune sur where mentioned.

Thaare Vaaste

This is what you call a simple yet catchy melody.

The song begins with subtle drum beats followed by peppy feel good rhythmic beats that gets the listener foot tapping from 0.08 onwards along with a similar PUNJABI flavoured instrument also used in RAFTA RAFTA from NAMASTE LONDON.

The groovy tune from 0.17 to 0.25 along with underlying beat pattern is awesome.

The 2 hit effect along with start-stop gap from 0.25 to 0.26 is great.

The unplugged groovy effect behind the lines THAARE VAASTE from 0.35 to 0.44 is brilliant.

The line JAANA (with emphasis twist) at 1.03, 1.17 & 3.37 is very much the old himesh pre-ABA style.

The off-da-hook raw matka beats from 1.07 to 1.08 was also used from 2.27 to 2.30 in SHIV OM from AABRA KA DAABRA.

The fast paced Arabic beats from 1.18 to 1.19 gives sahi desired effect.

Between mukhda & 1st stanza, the Punjabi instrument and groovy tune are back.

1st stanza

It is a feel good composition pattern and sung with feel good vocals.

The line TADPAANAAAAAAA (gentle up feel twist) from 2.13 to 2.15 is very much old himesh pre-ABA style.

The fast paced Arabic beats from 2.18 to 2.19 give sahi desired effect.

Between 1st & 2nd stanza, the awesome mix of bazz, synthetic techno and funky sound from 2.42 to 2.59 is followed by the Punjabi theme piece.

2nd stanza

It is feel good composition pattern and sung with feel good vocals.

The fast paced Arabic beats from 3.38 to 3.39 give sahi desired effect.

Shaan fully expresses himself from 3.54 to 3.55, himesh asked him to emphasize on high-pitch.

Highlights of this song:

1. Shaan's and Sunidhi's feel good vocals along with mast underlying beat pattern.

2. The RAFTA RAFTA styled Punjabi theme piece and fast paced Arabic beats.

3. The groovy sound, the raw off-the-hook raw matka effect from 1.07 to 1.08 and the combo mix between 1st & 2nd stanza.

4. The lines JAANA (with emphasis twist) and TADPAANAAAAAAA (gentle feel up twist) which is very much pre-ABA style.

Namumkin

Himesh begins this song with emphasis vocals depicting tadap from start to 0.04 that can shake up da listeners if they were snoozing. 

He is on top of his game from 0.05 onwards with knife-edge vocals with hardly any traces of nazal twang.

A heavy bazz metal guitar kicks in from 0.04 onwards and plays intermittently throughout.

At 0.10 & 0.26, MEIN (emphasis slogan abrupt leave with echo effect).

The song continues to build up and the underlying SHARP beats hit it HARD from 0.27 onwards followed by raga tune.

Himesh's lines, jaakEEEEE (soothing voice deepening) from 0.51 to 0.52, jaaKEEEE (prolonged) EEE (abrupt up twist) from 1.00 to 1.01

The profound tabla beat pattern kicks in along with raga tune from 1.10 to 1.26 & 2.00 to 2.16

Himesh's line, HAAI (profound emphasis) at 1.10 & 2.01, HAAAI (terrific desperation feel twist) at 1.19 & 2.09

The beat with quick bounce effect from 1.38 to 1.40 gives sahi desired effect.

Himesh's line, fasaanAAAAAA (prolonged) AAA (TERRIFIC quick abrupt up twist) from 1.42 to 1.43

From 1.28 to 1.29 & 1.42 to 1.43, FAASANA-AA (down twist) is similar to line RAATEINNNNN (down twist) from 3.05 to 3.06 in DIL NE YEH NA JAANA from RED – THE DARK SIDE.

Himesh's line, CHUPA (OFF-DA-HOOK uber rwakin nazal twang) AANA (TERRIFIC quick abrupt up twist) from 1.46 to 1.47

Himesh's line, KEEEE (feel good twist) from 1.50 to 1.51

Between mukhda & 1st stanza, the synthetic guitar piece from 2.17 to 2.34 is great followed by raga tune from 2.35 to 2.44

1st stanza

OFF-DA-HOOK quick beat bounce effect from 2.43 to 2.44 gives perfect kick start to stanza.

Himesh sings with SHARP KNIFE-EDGE vocals on rhyming lyrics.

Himesh's line, HAAI (high pitched emphasis) at 2.49 & 2.59

Himesh's line, HAAI (profound emphasis) at 3.14 & 3.30, HAAAI (terrific desperation feel twist) at 3.36

Himesh's line, KHANJAR (along with a synthetic whoosh sound) from 3.10 to 3.11 makes an impact.

Between 1st & 2nd stanza, Himesh's line NA (forceful) MUMKIN, HAAI (abrupt slogan leave effect) at 3.47, 3.52 & 3.56 along with great continuous tune. A cute flute plays from 4.03 to 4.06

2nd stanza

OFF-DA-HOOK quick beat bounce effect at 4.08 gives perfect kick start to stanza.

Himesh sings with SHARP KNIFE-EDGE vocals on rhyming lyrics.

Himesh's lines, SAAYE (sharp knife edge vocals that give chuban / pinch / chill sensation) from 4.16 to 4.17, PAAYE, HAADSE AISE HUE (sharp knife edge vocals) from 4.27 to 4.35, PAARAYE (along with a synthetic whoosh sound) from 4.35 to 4.36 makes an impact.

Himesh's line, HAAI (profound emphasis) at 4.38, 5.06 & 5.19, HAAAI (terrific feel twist) at 5.12 & 5.26

After the beat effect from 5.29 to 5.31, the song finishes on a rather abrupt note with quick shortened line JAAKE.

A special mention for the stunning video as well.

Highlights of this song:

1. Himesh's sharp knife edge vocals with added emphasis on finishing notes with sudden abrupt twists (Himesh - the singer is a master of prolonged twists-n-turns) with trademark Sufi Rwak singing style.

2. The underlying beats with sharp hit pattern, profound tabla beat pattern, raga tune, bazz metal guitar, synthetic guitar, cute flute and quick beat effects at start of each stanza.

Dil Lagayeenge

The best way to describe the RETRO livewire electro beats in two words would be PEPPY and CASUAL.

The quick emphasis twists in WOO at 1.05, 1.16 and HAAI at 1.07, 1.17 are very much from the sufi rwak singing style.

The line DIL LAGAYENGE CHOT KHAENGE are MIDDLE OCTAVE with emphasis on the prolonged feel good khayeng-EEEEEEE from 2.00 to 2.02

Off-da-hook additional beat effect from 1.53 to 1.54 that gives sahi desired effect was similarly used from 1.45 to 1.47 in CHUTKAN GANG from AABRA KA DAABRA and from 1.06 to 1.08 & 2.14 to 2.16 in DE DO DE DO from ANJAANE - THE UNKNOWN.

1st stanza

The additional beats from 2.26 to 2.27 give sahi desired effect.

The MIDDLE OCTAVE lines from 2.27 to 2.41 are quite likeable.

Himesh just can't help himself and returns to his typical sufi rwak antics from 2.42 to 2.56, with twists in the words JHO, TO, JAGI, HAI

The START-STOP gap from 3.09 to 3.10 is very likeable.

Between 1st & 2nd stanza, the beat pattern builds up sike and the heavy metal rock guitar followed by by female vocals gives some sike.

2nd stanza

The additional beats from 3.40 to 3.41 give sahi desired effect.

Akriti Kakkar's lines are also quite feel-good and likeable from 3.45 to 3.59

From 4.00 to 4.13, her low pitched vocals (with an additional higher pitched voice) are also nice.

Himesh also has his sufi rwak influence on Akriti with her prolonged twist on the word MITAYENGE from 4.18 to 4.19

Highlights of this song:

1. This is a very feel good and casual melody and something new by HR.

2. The additional beats top give the sahi desired effect.

3. The casual peppy beats that give the song its feel good identity.

4. The heavy metal rock guitar along with female vocals in unplugged mode.

5. The stanza lines from 2.27 to 2.41 and 3.45 to 3.59 are the best melody in this song.

This song is more so about RHYTHM.

Issi Umeed Pe

The song starts with a similar pitch/sur sound at start of NAAM HAI TERA (AKS).

Shaan's line ISI UMEED PEEE (feel twist) from 0.03 to 0.04 is catchy.

Shaan's lins NAAA (quick twist) from 0.19, 0.32, 1.22 & 1.34 & 2.00 is TERRIFIC and reminds of the line REEE (Alka's quick twist) at 1.35 in DIL TUMHARE BINA from 36 CHINA TOWN.

From 0.35 to 0.45, the musician tests out his instruments and this is great build up.

The RETRO beat kicks in from 0.45 onwards.

Shaan's lines ISI UMEED PEEE (feel twist) give a kick and are CATCHY.

Shaan's line HAI (abrupt twist with echo effect) at 0.59, 1.07 & 1.45 come from HR's SUFI-RWAK SINGING STYLE.

The groovy new age intermittent sound from 1.11 to 1.14, 1.49 to 1.51 is OFF-DA-HOOK.

Shaans' subtle pick up line HAAA at 1.14 & 1.52 is terrific.

The new age syntactic tune pattern from 1.25 to 1.26 is awesome.

It is only a pity that such a terrific catchy melody did not have a full song version.

Tera Sona Sona Roop

The underlying beats are the same that were used in KOI TUMSA from DASHAVATAR and get the foot tapping.

The tune pattern from 0.02 to 0.14 is similar to the tune from 0.32 to 0.41 in KOI TUMSA from DASHAVATAR.

Kunal sings with his feel good vocals on a likeable tune pattern.

HR uses his repetitive hooks formula 0.46 to 0.54, 1.06 to 1.14, 1.24 to 1.32, 1.41 to 1.57

Sunithi's vocals make an impact.

Sunithi's line BEKAR-RRRR (quick rising feel good twist) at 1.20, INTEZA-AAAR (quick rising feel good twist) from 1.23 to 1.24

Sunithi's line JAANI-YAA (voice deepening) from 1.31 to 1.32 & 1.47 to 1.48

The finishing effect from 2.11 to 2.12 is great.

Ruksat

The rhythmic beats provide the right tempo for Shaan's feel good vocal lines.

The raw drum beat hits from 0.03 to 0.04, 0.21 to 0.22 & 0.49 to 0.50 are great.

The descending composition pattern from 0.04 to 0.21 is well structured.

Shaan's lines MUMKIN NAHI (likeable composition tune) from 0.28 to 0.30, 0.37 to 0.39, 0.55 to 0.57 & 1.04 to end.

Shaan's lines TEREEE from 0.22 to 0.23, 0.31 to 0.32, 0.49 to 0.50 & 0.57 to 0.58 reminds of NEINNN from 2.17 to 2.18, MEINN from 2.24 to 2.25, NAAAA at 3.34, PAAL from 3.40 to 3.41 in YAADEIN TERIYA from DIL DIYA HAI.

The additional male croons at half note higher sur/pitch/scale from 0.41 to 0.48 enhance the overall feel good effect.

Aaj Nahi Toh Kal

The composition pattern of the overall tune is hummable.

The instrument and tune pattern from start to 0.12 can be related to the instrument and tune pattern of 0.21 to 0.42 of I LOVE YOU FOR WHAT YOU ARE from AAP KI KHATIR. They only have a similarity in terms of creating the overall desired effect and are not same in terms of instrument or tune pattern.

The underlying bazz sound from 0.01 onwards gives a RETRO FEEL and can be related to the underlying bazz sound of DIL DI NAZAR from MAINE PYAR KYUN KIYA.

Sunithi sings with feel good penetrating vocals.

The synthetic bazz guitar in between 0.17 to 0.30 is great.

The beat effect from 0.28 to 0.30, 0.51 to 0.52 & 1.20 to 1.21 was similarly used from 2.52 to 2.54 & 4.28 to 4.30 in AFREEN from RED, and from 1.53 to 1.54 & 2.26 to 2.27 in DIL LAGAYEENGE from SHAKA LAKA BOOM BOOM.

Saathiya

The tune is catchy and is very well complimented with underlying peppy beats.

The bazz trumpet pattern from 0.04 to 0.07 is same to bazz trumpet pattern along with lines TERE BIN from 5.34 to end in AASHIQ BANAYA AAPNE TITLE TRAX.

The Instrument tune pattern from 0.09 to 0.10 is similar instrument tune pattern from 4.08 to 4.09 in NAAM HAI TERA from AAP KA SUROOR.

Kunal sings with feel good vocals and the bazz trumpet is great behind his vocals especially its quick rising pattern from 1.00 to 1.05 & 1.25 to 1.37

Sameer's always spins in some interesting mix of Hinglish lyrics in peppy feel good songs.

Sunithi sings with feel good penetrating ALTO vocals and reminds of how she sung in TANHAIYAAN UNPLUGGED in AAP KA SUROOR – THE MOVIEE.

Sunithi's line DEEWAAN –GEEE (voice deepening) reminds of line tan-HAAI (voice deepening) -yaan at 1.22 in TANHAIYAAN UNPLUGGED in AAP KA SUROOR – THE MOVIEE.

Her feel good line SAATHIYA from 1.22 to 1.24 is great.

The instrument effect from 1.42 to 1.48 is terrific and its pattern (not instrument) is same from 4.15 to 4.45 in MAULA from VAADA.

History unreleased medley

http://www.dailymotion.com/video/k380TzfPCE9hzYc92K#from=embed?start=468

Himesh puts his heart and soul (and so do all the male singers) into this history medley which totally connects with the listener.

The male singer's alaap HMMMM (history halke se feel twist) from 4.43 to 4.44, LAA (history halke se feel twist) from from 4.52 to 4.53, LA-AA (history low twist) AAAA (history prolonged subtle feel) from 5.00 to 5.02, LAAA - AAAA (awesome 2 step profound descending twist) from 5.05 to 5.07, LAAA (awesome up note) from 5.12 to 5.13, HEE * 5 (awesome feel) from 5.14 to 5.17

The underlying continuous tune sur gives terrific overall effect, with emphasis from 5.02 to 5.04

Feel good pre-ABA guitar riffs play in between 4.41 & 5.19 give great interlude to male vocals.

The male singer's line, MEEE (history classical twist) from 5.40 to 5.41, KAISE (history classical twist) from 5.42 to 5.43, FASANA (history quick profound classical twist) AAAAA (history desperation plea) from 5.46 to 5.48, SANDEESH - ESH (terrific 2 step descending twist) from 5.52 to 5.54, YE SANDESH (awesome feel) ESH (terrific up note) from 5.54 to 5.59

Feel good pre-ABA guitar riffs play in between 5.39 & 6.00 give great interlude to male vocals.

Shaan's lines, TERE (history high-pitched desperation plea twist) BINA MEIN REH (history high-pitched desperation plea twist) NAHI PAAU from 6.35 to 6.37, HAAL (terrific feel) from 6.38 to 6.39, KEH (history high-pitched desperation plea twist) from 6.40 to 6.41

The quick piano flicks from 6.46 to 6.58 give terrific intermittent effect.

Shaan's lines, PIYA GAYE (history subtle feel) from 6.59 to 7.01, PAR (history halke se feel) DES from 7.02 to 7.05, HO (terrific profound middle octave) PIYA (awesome quick up twist) GAYEE (awesome feel twist) from 7.06 to 7.09, PARDES (terrific prolonged sooth feel) from 7.10 to 7.13

Shaan line, PARDEEEEEEEEES (terrific high-pitched rising desperation plea alaap) from 7.14 to 7.18, PARD - EE (awesome desperation plea voice rise) from 7.26 to 7.27, EEEEE (terrific high pitched prolonged) EE - EE - EE - EE (terrific desperation plea voice shake) from 7.28 to 7.31, EEEEEEE (terrific up down subtle feel notes) from 7.35 to 7.38, PIYA GAYEE (awesome prolonged feel) from 7.40 to 7.40, PAR (history halke se feel) DES from 7.45 to 7.48

Feel good pre-ABA guitar riffs play in between 6.34 & 7.48 give great interlude to male vocals.

The history subtle feel hooks YEH SANDESH from 5.52 to 5.57 & PARDES from 7.02 to 7.04 & 7.10 to 7.12 & 7.44 to 7.48 have a similar feel to the history subtle feel hook JAANEMAN in between 1.07 & 1.18, 1.46 & 1.57 in the line...tenu dil vich rakh lu JAANEMAN in JUST WALK INTO MY LIFE from MAIN AISA HI HOON.

Each n every composition note and vocals in this melody is history, whereby HR the -pre ABA composer is at his ultimate best.

Such are the melodies due to which no other composer can ever dream of coming close to typical unique HR melody which is just in a different untouchable league.

It is really a pity and shame that such a history composition wasn't even part of the OST, forget even the full version because leave alone aam junta...even many Himesh fans may not have heard this masterpiece till date.

My picks

From Himesh's "sung n composed" songs:

1. Shaka Laka Boom Boom & Namumkin (tie).

Namumkin

typical Sufi Rwak number. Its music video was shot on exotic breathtaking rugged locales with slick widescreen rotational camera angles. The tabla hit pattern from 1.08 onwards is in great sync with Himesh's vocals. The beat with quick bounce effect from 1.38 to 1.40 gives sahi desired effect. Himesh's BEST MUKHDA lines are HAAI (profound emphasis) at 1.10 & 2.01, HAAAI (terrific desperation feel twist) at 1.19 & 2.09, fasaanAAAAAA (prolonged) AAA (TERRIFIC quick abrupt up twist that gives kick) from 1.42 to 1.43, CHUPA (OFF-DA-HOOK ubber rwakin nazal twang) AANA (TERRIFIC quick abrupt up twist) from 1.46 to 1.47, Himesh's BEST LINE in 1ST STANZA is HAAI (intense emphasis vocals) at 2.49 & 2.58, Himesh's BEST LINE in 2ND STANZA is SAAYE (sharp knife-edge vocals that give pricking sensation, chubban ka ehsaas) from 4.17 to 4.18

2. Dil Lagaayenge.

From Himesh's "composed only" songs:

1. Thaare Vaaste.

From "short medleys":

1. Isi Umeed Pe (it is a pity that it didn't have a full version).

2. Rukhsat.

3. Saathiya & Aaj Nahi Toh Kal (tie).

5. Tera Sona Sona Roop.

In terms of underlying orchestration, there was a good dose of RETRO / DISCO with FULL ON VIBRANT LIVELY BEATS in da short medleys (which were tailor made for on screen performances) and also in Dil Lagayenge.

Since da movie revolved around two rwakstars who were trying to out do each other, music was a central part of da film around which da characters revolved. So da album had to be good.

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