namastey_london

Music review analysis of Himesh Reshammiya's album Namastey London (2007).

Chakna Chakna

Himesh reshammiya creates the sound of UK Bhangra Pop or as they say it "PANGRA".

The song starts with laidback guitar riffs in unplugged mode followed by Himesh's well structured prolonged intro croon (a starting trend used in numerous sufi rwak songs).

Himesh goes fulltu and fully expresses himself in line CHAKDE PHATTE which is full of energy and it sets the undertone of the song.

The fast drum-roll beats at 0.20 give kick.

The underlying beats are new-age innovative and their FAST rhythmic pattern which is in SYNC (in terms of tempo) with Himesh's relatively SLOWER paced lines is commendable and forms an overall repetitive foot tapping loop.

The ending part of the beat i.e. from 0.23 to 0.24 and the energetic male croons HOO gives the complete effect.

Himesh sings the mukhda lines in middle octave and his CHAKNA CHAKNA part has his ubber rwakin nazal twang.

His repetitive lines CHAKNA CHAKNA (normal note) from 1.12 to 1.34 build up the mukhda and CHAKNA CHAKNA(in lower note) from 1.35 to 1.45 gives the complete effect and get the listener into the zone whereby da song's graph is in full form.

Between mukhda & 1st stanza, a wicked funky guitar piece plays from 1.53 to 1.58 along with intermittent energetic Punjabi croons followed by typical Punjabi instrument from 1.59 onwards and joined in by techno bazz sound from 2.04 onwards. This is followed by energetic male vocals and seductive female vocals from 2.21 to 2.26 along with the underlying rhythmic beat pattern which picks up da song again in terms of tempo.

1st stanza

Himesh sings with his knife-edge vocals with middle octave effect and the beats are in sync.

His lines from 2.50 to 3.00 is very much sufi rwak style.

The seductive female vocals from 3.01 to 3.06 add an urban comtemporary club feel to proceedings.

The wicked bazz sound at 3.06 gives halke se kick.

The composition is very free flowing and lyrics rhyme.

Between 1st & 2nd stanza, the female seductive vocals are back along with a classical sitar piece (an innovative Indian flavor mix in an otherwise Western arranged song) and metal guitar that gives a LOUNGE feel. The start-stop effect at 3.46 & 4.07  followed by full on underlying rhythmic beats gives kick.

2nd stanza

It gets into the business end.

Himesh's knife-edge vocals with middle octave impact STRIKE A CHORD and give a CHILL PILL with emphasis on TU MERI SAHIBA MEIN MARHABA that make da listener feel it big time.

The seductive female vocals from 4.46 to 4.51 add an urban comtemporary club feel to proceedings.

The wicked bazz sound at 4.52 gives halke se kick.

The composition is very free flowing and lyrics rhyme.

Highlights of this song:

1. The new age foot-tapping rhythmic innovative beats that give a feel of "zor ka jhatka dheere se lage" just like a "subtle kick".

2. Himesh's middle octave impact vocals that strike a chord and give a chill pill.

3. The seductive female vocals and energetic Punjabi male croons.

4. The starting laidback guitar riffs, rebel wicked bazz sound at 3.06 & 4.52, Punjabi instrument tune, drum roll beats,  instrument, metal guitar and lounge effect feel between 1st & 2nd stanza.

The composition is very well structured, the lyrics rhyme perfectly and the underlying rhythmic innovative beats that are unusual 'in isolation by themselves' come to their own party and are commendably paced in sync with Himesh's vocals with the right tempo to form an overall repetitive foot tapping loop.

This total effect makes the song a free flowing affair whereby the listener gets into da groove.

The song is mainly western contemporary RnB in terms of music arrangement in order to cater to todays gen X youth in terms of modern sensibilities, yet it doesn't forget and rather includes some hard-core Punjabi elements to do full justice to and preserve da traditional roots of this genre.

This song just shows how easy it is for Himesh to enter and rule a new genre.

Veeraniyaan

The raaga tune in beginning is great.

The beat is really subtle and laidback, yet it HITS HARD.

The lines, MOHOOBATT, TOH GHERI MERI, ZINDAGI (great twist, same in ALLAH KARE).

At 1.14, YEH VEE (PINCH) RAANIYAAAN-AA-AA-AAN (great twist) followed by 1.20 to 1.22, female vocals of HAAAAAA are awesome.

The beats from 2.23 to 2.24

From 2.24 onwards, ZINDAGIIIII (twist) is awesome, followed by raaga tune.

At 1.32, mahe (great feel) tum biNNNN (threatens to go into low octave), YEH VEE (PINCH) RAANIYAAAN-AA-AA-AAN (great twist).

At 1.55, classical tabla joins in along with raaga tune and subtke female vocals.

Stanzas are SLOGANS with PUNCH.

1st stanza

The linse, SUNE SUNE-NE, SARE RASTE HAI (SLOGAN).

At 2.32, JAAAAAAAAAANAAAAAAA (prolonged hard core classical twist).

The beats from 2.39 to 2.40

At 2.56, quick drum beats give good effect.

Between 1st and 2nd stanza, the haunting female vocals along with flute are make an impact. From 3.46 to 3.50, the metal giutar that plays is the BEST part of the song (OFF-DA-HOOK CULT STUFF THIS).

From 3.50 to 4.01, the tune that plays with this ROGUE metal guitar is extermely catchy and gives sike.

From 4.01 to 4.02, note the 3 additional beats.

From 4.03, the classical tabla along with female chorus is great combination.

2nd stanza

The lines, SAANS JAB LOOH TOH (SLOGAN) SEENE ME JAISE (SLOGAN), great echo effect, PANSH (PUNCH) chubti.

Ustad himesh reshammiya proves himself again with JAAAAAANNNAAANNNAANA (hard core classical twist).

At 4.37, SAARE MERE (great), after this the tune gets out of wack with the beats to a good effect until 4.52

In the end, the additional tabla beats with female vocals (also used in tere bina from AKS) are great, VEE (high note) RAANIYA is powerful.

Highlights of this song:

1. Himesh's powerful singing style.

2. The slow laidback beats that HIT it hard.

3. Raaga, tabla beats and female croons.

4. The rebellious metal guitar in between 1st and 2nd stanza that is the BEST part of the song simply for its sike effect in an otherwise laidback song.

This song is amongst those songs that can be used to test other singers who claim that himesh's singing style is very easy to sing.

Main Jahan Rahu

This song is actually a warning to the haters about the class of himesh reshammiya - the composer.

Ustad himesh reshammiya is at the helm of affairs.

The piano piece at start is mesmerizing.

The tune sur from 0.23 is terrific.

Rahat fateh casts his magic with subtle vocals, with emphasis on yaaaaaa-AAAAAA(ZABARDAAST PROLONGED CLASSICAL TWIST)-AAD from 0.34 to 0.36

The fast paced tabla beats hit along with ghungroo beats and rahat croons AAAAAAAAAA with feel especially from 0.52 to 0.53

The tabla pattern beat is awesome.

The raaga tune is TERRIFIC from 1.25 to 1.27

From low to sudden high pitch, himesh is a master of such.

The high pitched lines, TANHAAIYI (great) BAS YAA (feel twist) AAAD at 1.46 & 1.55, along with tune sur is great.

From 2.07 to 2.16, the high pitched YAAAAAAAAAD (up 2, up 2, up 2 notes) is the ultimate test for any singer, followed by majestic gradual rising keyboard flick from 2.18 to 2.21

The greatness of this song is also how it returns back to laidback subtle mode from 2.23 onwards as if nothing (high pitched stuff) had happened.

Between mukhda & 1st stanza, the ghungroo effect is back along with string raga tune followed by harmonica tune. The true greatness of the beat and string instrument from 3.06 to 3.10 (classical off-da-hook pattern).

1st stanza

Meaningful lyrics, TASVEER DHUNDLI PAR JATI HAI.

The intermittent raga tune sur is great.

TANHAIYIIII and HAI are great.

Between 1st & 2nd stanza, the groovy tune is awesome from 4.25 to 4.38 followed by rahat painful desperation feel croons from 4.48 to 4.57.

2nd stanza

Again meaningful lyrics & raaga tune used well.

At 4.54, is DILL (twist) mein TANHAAAIII (sheer feel).

Highlights of this song:

1. Male singers vocals both in high and low pitch, sung with utter feel & soothness respectively.

2. Tabla beat pattern, ghungroo effect and raaga tune used throughout the song.

3. The powerful composition itself which is a test for any singer in live musical reality shows like saregamapa challenga.

Yahi Hota Hai Pyar

This is the best song in the album. It is semi-classical in genre.

The song begins with a likeable synthetic piano piece followed by awesome penetrating raga theme piece (with emphasis at 0.13 & 0.22 in unplugged mode.

The underlying classical tabla beat pattern joins in from 0.28 onwards.

Himesh starts on the best possible sur.

Himesh's line, TERA (terrific desperation emphasis plea twist) from 0.51 to 0.52, KOOH (painful desperation emphasis) at 1.01

The likeable string riffs from 0.56 to 0.57 & 1.06 to 1.07 are of great cause.

Himesh's line, MEREEEE (awesome subtle feel vocals along with effective tune sur) from 1.08 to 1.11, DILE BEKARAAR (typical unique HR melody) from 1.11 to 1.13, HAAN DILE-BE (awesome sudden high note), BEKARA - AA - AA - AA - RR (awesome prolonged well structured descending twist) from 1.15 to 1.21, with emphasis on the final / last twist from 1.21 to 1.22 which is catchy

OFF-DA-HOOK household Sufi Rwak quick BOUNCE beat effect from 1.21 to 1.23 that was similarly used from 1.38 to 1.40 in NAMUMKIN from SHALA LAKA BOOM BOOM gives sahi desired effect. It is OFF-DA-HOOK in terms of its hit pattern i.e. in da manner in which it hits.

From 1.24 onwards, the continuous key tune gives awesome sur along with 2 synthetic piano keys (normal down) with great timing at 1.27

Himesh's line, MERE DILE (typical unique HR melody) BEEE (HISTORY sudden high-pitched passionate emphasis vocals), KA-RA-AA-AA-AA-AR (catchy 5 step down twist) from 1.19 to 1.21 along with fast tabla hit pattern in SYNC, followed by OFF-DA-HOOK quick bounce beat effect from 1.21 to 1.23, HAI (halke se feel gives finishing touch) from 1.28 to 1.34

Versatile Sunithi impress big time by showing yet another facet of her.

Sunithi's lines, MERE DILE BEEE (HISTORY striking high-pitched melody impact) KARAA-AA-AA-AA-AA (awesome gradual down twist) AR from 1.41 to 1.46, followed by the best use of history emotional raga tune from 1.46 to 1.49

Between mukhda & 1st stanza, a likeable subtle flute piece plays followed by raga theme piece

1st stanza

The quick beat effect from 2.20 to 2.21 was similarly used from 1.13 to 1.14, 2.08 to 2.09 & 3.29 to 3.30 in O JAANA LOVE U MISS U from ROCKY - THE REBEL and from 1.03 to 1.04 in TERA SUROOR from AAP KA SUROOR.

Himesh's lines, KHABON, KOI, HAAI, AAEE, KYUN & HAAI in between 2.21 to 2.35 are sung with high-pitched emphasis vocals.

Himesh's lines REHTHA (sooth feel) from 2.27 to 2.29, KETHAA (sooth feel) from 2.36 to 2.38, HAAI (sooth feel) from 3.05 to 3.06 & 3.13 to 3.14

The penetratingly rising raga pattern from 2.37 to 2.39 is terrific.

From 2.40 to 2.48, Sunithi sings her lines with a melodious thehrav.

Himesh's lines, WOOOH (lower octave) at 2.49, AUR WOOH (lower octave) from 2.53 to 2.54

The lyrics and vocals from 2.49 to 2.56 adapt a shayariana andaz.

Himesh's lines, BETABI (high-pitched pinch) YAAN from 3.03

Between 1st & 2nd stanza, the feel good laidback guitar riffs from 3.52 to 3.56 that was similarly used from start to 0.04 in CHAHE GILA KARO from AAP KA SUROOR is joined in by Indian classical string instruments in prolonged mode along with classical tabla beat pattern.

2nd stanza

Himesh gets carried away and just about threatens to revert to his Sufi Rwak antics by forceful singing in lines MEEEE & YEEEE from 4.50 to 4.53 but returns back well.

The penetratingly rising raga pattern from 5.04 to 5.06 is terrific.

Sunithi sings her lines with a melodious thehrav, with emphasis on HAAAI (feel good twist) from 5.13 to 5.15

Himesh's lines, TERI (lower octave) at 5.15, SAD AAFREEN from 5.20 to 5.21

The lyrics and vocals from 5.16 to 5.23 adapt a shayariana andaz.

Himesh's lines, HAAI (emphasis twist) from 5.27 to 5.28, HAAI (sooth feel) from 5.31 to 5.32 & 5.40 to 5.41, TUJHE KYUN (high-pitched passionate emphasis) from 5.34 to 5.37

The song ends with a raga tune.

Highlights of this song:

1. Himesh's passionate emphasis and sooth feel vocals.

2. Sunithi's melodious vocals with thehrav that allow her to showcase her versatility since she is usually not associated with the semi-classical genre, with emphasis on her BEST line BEKARAAR (HISTORY fulltu high pitch striking melody impact) from 1.43 to 1.44, 3.40 to 3.41 & 6.07 to 6.08

3. The mukhda lines from 1.22 to 1.49 are best in the song.

4. Typical unique HR melody in lines DILE BEKARAAR from 1.11 to 1.13 & MERE DILE from 1.28 to 1.29

5. The underlying tabla beat pattern that holds classical pulse of listener, terrific penetrating raga tunes, synthetic piano piece, beat effects to give sahi desired effect, continuous tune sur in mukhda lines, subtle flute and Indian string based instrument.

Yahi Hota Hai Pyaar - Music Video

MUSIC VIDEO REVIEW
The song arrives when the heroine doesn't care or give a damn whatsoever of her lovers true love but rather views him as an unwanted pest in her life who is forcibly stuck to her. However, by seeing his caring attitude (throughout the song) has a sub conscious effort on her stance whereby the closeness between them increases slowly n gradually.
When Katrina is blow drying her hair but the door is slightly open, and Akshay approaches towards her room with fast camera angle through the small corridor from 0.57 to 1.15, it causes dhak dhak n an increase in heart beat jahaan pe dilon ki dhadkan tez ho jaati hain (ya phir tham jaati hain).
As he closes the door and looks away, such conservative values n respectful behavior leave an impression on the westernized Kat from 1.18 to 1.22 when she slowly opens it again and peeks through to see him leave.
Off-da-hook household quick bounce beat effect from 0.50 to 0.52, 1.03 to 1.05 & 4.15 to 4.17
Himesh's line, MERE DIL BEKARAAR (HISTORY typical unique HR melody) from 0.37 to 0.43
Himesh's lines, MERE DILE (HISTORY typical unique HR melody) from 0.56 to 0.58, BE (OFF-DA-HOOK fulltu high pitch, vocal kill effect) KARAAR from 0.58 to 1.01
Himesh's line, HAAI (halke se feel, tadap ki aah) from 1.02 to 1.03
Sunithi's ECHO vocals from are mind blowing and strike a chord, especially her line BE (HISTORY typical unique melody) KARAAR from 1.11 to 1.12 & 4.35 to 4.37
Akshay is mayoos and wanders alone from 2.14 to 2.42 and thinks what wrong has he done to receive such kind of cold treatment n cold shoulder.
Chulbuli natkhat Katrina has some playful fun from 2.43 to 3.14 and unknowingly wets Akshay and then returns to her chirpy self after showing some shyness.
From 3.27 to 3.53, they sit in opposite seats in the train n try to feel each others vibe (whereby lyrics...simtegi ik din toh yeh dooriyaan...are apt), n when finally when Kat decides to sit next to Akshay, he pretends as if he is asleep, n when she pats him n passes through, he smiles (whereby lyrics...umeed tune ae dil chori nahi hai, teri zidh pe mere ae dil sad afreen hai...are apt)
As Kat forgets to buy tickets, Akshay shows his sense of responsibility of a Punjabi jatt even in western environment from 4.19 to 4.28
Akshay shows fulltu attitude with shades from 4.33 to 4.44 with side back camera angle view, as he thinks what more could he do to win over Kat's heart.
The song has an 'emotional konnekt' in terms from the hero's 'desperation plea' viewpoint as he is trying to woo over his lady love by displaying acts of sincerity.
It is Himesh's BEST sung n composed song in the SEMI CLASSICAL genre (tied along with Afreen from Kajraare).

The song arrives when the heroine doesn't care or give a damn whatsoever of her lovers true love but rather views him as an unwanted pest in her life who is forcibly stuck to her. However, by seeing his caring attitude (throughout the song) has a sub conscious effort on her stance whereby the closeness between them increases slowly n gradually. 

Akshay shows his dejected facial expression on Himesh's soulful emphasis line TERA from 0.21 to 0.22

Himesh's line, MERE DIL BEKARAAR (HISTORY typical unique HR melody) from 0.37 to 0.43

When Katrina is blow drying her hair but the door is slightly open, and Akshay approaches towards her room with fast camera angle through the small corridor from 0.57 to 1.15, it causes dhak dhak n an increase in heart beat jahaan pe dilon ki dhadkan tez ho jaati hain (ya phir tham jaati hain). 

As he closes the door and looks away, such conservative values n respectful behavior leave an impression on the westernized Kat from 1.18 to 1.22 when she slowly opens it again and peeks through to see him leave.

Off-da-hook household quick bounce beat effect from 0.50 to 0.52, 1.03 to 1.05 & 4.15 to 4.17

Himesh's lines, MERE DILE (HISTORY typical unique HR melody) from 0.56 to 0.58, BE (OFF-DA-HOOK fulltu high pitch, vocal kill effect) KARAAR from 0.58 to 1.01

Himesh's line, HAAI (halke se feel, tadap ki aah) from 1.02 to 1.03

Sunithi's ECHO vocals are mind blowing and strike a chord, especially her line BE (HISTORY typical unique melody) KARAAR from 1.11 to 1.12 & 4.35 to 4.37

Akshay is mayoos and wanders alone from 2.14 to 2.42 and thinks what wrong has he done to receive such kind of cold treatment n cold shoulder. 

Chulbuli natkhat Katrina has some playful fun from 2.43 to 3.14 and unknowingly wets Akshay and then returns to her chirpy self after showing some shyness. 

From 3.27 to 3.53, they sit in opposite seats in the train n try to feel each others vibe (whereby lyrics...simtegi ik din toh yeh dooriyaan...are apt), n when finally when Kat decides to sit next to Akshay, he pretends as if he is asleep, n when she pats him n passes through, he smiles (whereby lyrics...umeed tune ae dil chori nahi hai, teri zidh pe mere ae dil sad afreen hai...are apt).

Himesh's line, doori-YAAN (bhaut shidat aur imaandaari se gaya hai) from 3.34 to 3.35

As Kat forgets to buy tickets, Akshay shows his sense of responsibility of a Punjabi jatt even in western environment from 4.19 to 4.28

Akshay shows fulltu attitude with shades from 4.33 to 4.44 with side back camera angle view, as he thinks what more could he do to win over Kat's heart.

The song has an 'emotional konnekt' in terms from the hero's 'desperation plea' viewpoint as he is trying to woo over his lady love by displaying acts of sincerity.

It is Himesh's BEST sung n composed song in the SEMI CLASSICAL genre (tied along with Afreen from Kajraare).

Rafta Rafta

Himesh ropes in the well reknowned UK pop bhangra band RDB member Kulldeep Rai (Kuly) to add that Punjabi zing and flavor to this song, and to do justice to the authentic backdrop setting of the film which is based in interior Punjab during its first half whereby this song is placed in da narrative. 

The song may be Punjabi flavored but it begins by offering a rather cult hostile Arabic greeting followed by a wicked oriental flute from 0.06 to 0.11

The beat with a cult off-da-hook skip pattern hits in from 0.11 onwards along with loud female whisper RAFTA.

A typical punjabi instrument with a CULT bounce / echo effect plays followed by been (snake) tune from 0.16 to 0.35 and intermittent loud female whispers.

RDB sings with sharp vocals which have a striking impact at high pitch.

At 0.51, 1.34 & 1.52, energetic male croons HAI are a great punjabi element.

From 0.56 to 1.06, the harmonica theme piece is very catchy.

RDB's lines, DIL KHUDA (OFF-DA-HOOK desperation plea twist that wins over the listener, whereby pours his heart out) from 1.17 to 1.18 & 1.34 to 1.35, ISHQ SE-EEE (HISTORY fulltu high pitch vocal kill effect that gives jazba) from 1.19 to 1.20 & 1.36 to 1.38 is the BEST parts of the song, and very much Himesh composition style.

At 1.12 & 1.40, after AASHNA, the beat that reverse skips itself 3 quick times gives the completeness effect to RDB's preceeding lines.

RDB's line, ME (awesome low note variation, terrific singing) RA at 1.31 is the other BEST PART of song.

Between mukhda & 1st stanza, the wicked oriental flute plays from 1.58 to 2.02 followed by string based Punjabi folk instrument tune from 2.03 to 2.21 and theme harmonica piece from 2.22 to 2.27 along with intermittent energetic Punjabi male croons AAHA at 2.23 & 2.26

The composition pattern of stanzas is simple yet effective, and RDB's vocals get the listener charged up.

1st stanza

The cult Punjabi instrument at 2.33 & 2.43 enhances the catchiness of RDB's stanza lines.

The energetic Punjabi male croons HAAI at 2.37 & 2.47 give great intermittent effect.

Between 1st & 2nd stanza, church organ plays with intermittent cult punjabi instrument followed harmonica theme piece.

2nd stanza

The cult Punjabi instrument at 3.35 & 3.45 enhances the catchiness of RDB's stanza lines.

The energetic Punjabi male croons HAAI at 3.40 & 3.51 give great intermittent effect.

RDB's lines, KITNI TUH ZAROORI THI, KEKASHA KE RASTE ME TERA GHAR BHI AATA HAI (great catchy lyrics).

The song finishes with the cult bounce / echo sound effect of the typical Punjabi instrument.

Highlights of this song:

1. Simple yet catchy and effective composition sung by RDB's sharp vocals.

2. ISHQ SEEE (fulltu high pitched note) EEE and ME (low note) RA are BEST lines of song and very much Himesh style.

3. Been (snake) theme piece, cult Punjabi instrument, string based Punjabi folk instrument, church organ and wicked oriental flute. .

4. Energetic Punjabi male vocals HAAI, AAHA and female vocal whispers RAFTA and the 3 drum beats that skip/reverse themselves behind the lines AASHNA.

This song is very much unlike himesh whereby he takes a relatively new fresh approach in terms of composition style / structure, but it has a few of his typical composition notes (mentioned as best) that associate it with some sort of a distinctive trademark himesh stamp.

There is nothing complicated about the tune with no prolonged abrupt sufi rwak twists and turns, but rather which is very well structured and carefully laid out.

Annan Fanaan

Himesh gives another opportunity to Jayesh for a full song, considering that he is mainly used as an intermittent croonist.

Jayesh fully expresses himself with the opening lines.

The underlying beats along with guitar piece are subtle laidback but yet with an impact, such is the pattern!

Jayesh's line AA-nan from 1.01 to 1.02 are so feel good

The keyboard tune sur from 1.04 to 1.18 gives good intermittent effect.

From 1.19 to 1.36, the subtle laidback middle octave effect is great.

Jayesh's fully expresses himself with line kya SE (highest note) kya at 1.15

Jayesh's prolonged AANAAAAAA followed by quick additional beat hits from 1.32 to 1.36 gives good overall effect.

Akriti's vocals are also soothing feel good, with emphasis on her line FAANAN (feel good), JAANE-MAN (feel good twist).

The interesting thing in composition is that Jayesh maintains a middle octave but same lines by Akriti are in higher pitch and she goes all out from 1.53 to 2.09

Akriti's prolonged AANAAAAAAA is followed by a lovely violin piece to create great overall effect from 2.07 to 2.10

Between mukhda & 1st stanza, a great tune piece pattern plays followed by great fairyland tune effect (keyboard sound) from 2.32 to 2.40. The full form of the underlying beat pattern is on display also.

1st stanza

The echo effect is used well.

Jayesh's feel good middle octave impact is awesome along with underlying beats that go in sync, and this isn't that easy because the beats have an innovative pattern.

Emphasis on the accompanying string piece effect.

Emphasis on Jayesh's lines HIIII (quick twist) at 2.44, JAYE-AAAAA (prolonged quick twist) from 2.52 to 2.53

The 2 key (up down) tune sur at 2.49 gives great effect in overall context of lines.

The lines from 2.58 onwards are feel good and catchy especially NEELAM PA(twist)RI-IIIIIIII (prolonged) from 3.04 to 3.06

Akriti's subtle feel good vocals are also great from 3.07 to 3.14

Between 1st & 2nd stanza, the guitar tune is great followed by emotional violin piece and the overall atmosphere along with unplugged beat SKIP pattern becomes so laid back.

2nd stanza

Jayesh continues this feel good pattern especially with lines DIL at 4.12 and TUM at 4.16 that are sung with AWESOME STRAIGHTNESS (on one note without any twists-n-turns which gives the key effect).

The 2 key (up down) tune sur at 4.20 gives great effect in overall context of lines.

The feel good twists follow from 4.20 to 4.28 with great singing influenced by HR's style.

The lines from 4.29 onwards are feel good and catchy especially SHAAM HAI(twist)AA-AAAAAA(prolonged) from 4.35 to 4.37

Akriti's line KAAAM (feel good) HAAAAAAI (feel good twist) from 4.43 to 4.45

The song finishes in unplugged mode with repetitive TECHNO sound and emotional feel violin tune.

Highlights of this song:

1. The chilled out laidback underlying beat pattern that still hits it good along with a string instrument plucks.

2. Jayesh's feel good middle octave impact that is new side of him as he mainly croons in high pitch.

3. The interesting pitch changes whereby jayesh croons in lower middle octave and Akriti goes all out in high pitch on lines DHADKA DIL.

4. The emotional feel violin tune, fairytale tune effect and techno sound.

5. The unplugged beat skip effect between 1st and 2nd stanza.

This is a totally new, different and fresh attempt in terms of song structure and setting, very unlike him.

You may find the twists-n-turns of Himesh's singing style but if you are searching for pre-ABA himesh, there is none!

Therefore, Himesh scores with a new perspective.

Dilruba Dilnasheen

The song starts with full of energy and vigor.

The underlying bazz sound behind cheeky feel good female vocals DANCE DANCE is nice.

Alisha sings with feel good vocals on a feel good simple but well structured composition pattern.

Zubeen garg brings in enthusiasm with his punch lines from 0.54 to 1.08, and the additional quick beats in between enhance this effect.

Between mukhda & 1st stanza, the feel good rap is wicked and only adds to the song.

1st stanza

The additional raw drum beats in the beginning.

Zubeen's middle octave impact is profound it lines from 2.16 to 2.23 and along with additional feel good vocals half note higher from 2.24 to 2.31 that provide a great overall effect.

Alisha's lines HIIII, NAAAI, HAAAI have a feel good twist.

Between 1st & 2nd stanza, the classical male vocals remind faintly about YEH HAI JALWA followed by bindaas lines LONDON (3 echo effect).

2nd stanza

The additional raw drum beats in the beginning.

Zubeen's middle octave impact is profound it lines from 3.50 to 3.57 and along with additional feel good vocals half note higher from 3.58 to 4.05 that provide a great overall effect.

Alisha's lines HIIII, HAAI, KIIII, MAAI have a feel good twist.

Highlights of this song:

1. The cheeky female vocals DANCE, underlying peppy beats and male raps.

2. Zubeeg garg's energy filled lines in mukhda and middle octave impact in the stanzas.

3. Alisha's feel good vocals.

This song is a mixture of simple feel good albeit enthusiastic melody, because you can't keep Himesh - the composer out of action.

Veeraniyaan - Melfil Mix

The KEY in this song is the PROFOUND TABLA PATTERN throughout the song.

The tabla beat pattern from 1.46 to 1.50 is awesome.

Yahi Hota Hai Pyar - Melfil Mix

The underlying profound tabla hit pattern catches the semi classical pulse of the listener.

Himesh pours his heart out and sings with utter passion and feel from 1.54 to 2.01, 3.57 to 4.03 & 6.19 to 6.25

Himesh threatens to touch the lower octave from 2.58 to 3.14 & 5.19 to 5.36

Javed Akthar's vocals bring about a thehrav to the already subtle laidback proceedings.

Yahi Hota Pyaar - female cover



playing guitar chords and singing at same time isn't easy, but she has a mellow voice and did a decent attempt...she could also offer music therapy at her practice

Main Jahaan Rahu female cover



outstanding twist variation in line, MANN KEHTA HAI from 3:20 to 3:24

Verdict

This was one album that stood out in terms of a difference in sound from his other soundtracks in that era and it had true variety in songs which came as a welcome change to his otherwise stereotype works.

Himesh took a fresh take in terms of tunes and orchestration for this album, hence the complete overall himesh stamp was missing in virtually all songs. But nevertheless, they had traces of his trademark elements in bits and pieces (i.e. composition notes in intermittent parts) that gave them an association with his sound i.e. typical unique HR melody.

This album had one song 'Main Jahaan Rahu' that would create and leave a serious impression upon himesh's haters, make / force them reconsider their stance and/or to change their pre-conceived notions and pre-biased opinions. In essence, it proved a strong point and made a strong statement about his undoubted class as a composer that commands respect from one and all, something that would surprise and stun his detractors after checking out his name on da album credits who had completely written him off beforehand without even bothering to lend their ears and give a fair hearing / listening chance to his compositions.

Critics still accused this album of 'lacking the distinctive trademark himesh reshammiya stamp' and when himesh was questioned about da same in interviews, he was quick to point out that whenever he does repetitive Sufi Rwak work, then too he is accused of da same! and now that he has done something different, those very critics are asking for his missing typical unique touch i.e. being a case of double standarded hypocricy whereby it is a lose-lose situation come heads come tails regardless of what himesh attempted. This statement indirectly slammed his detractors who were hell bent upon pulling him down in any case and at any cost wharsoever.

This album had something in offer for and catered to da tastes of listeners from a wider segment base i.e. aam junta rather than only restricted to his hard core fans.

This was his last album before his self imposed policy decision to only score music for his own projects (the remainder of his non-filmi albums other than his own that followed were only a back log of work that was already done / completed in da past i.e. previously earlier before this album).

Another song that would compel and move a hater is Apne Toh Apne Hote Hain.

Having said that, himesh could reconsider allowing other male singers again to sing some of his compositions (like in da past before his policy decision) rather than sing all his songs himself, as that allows / creates scope and presents oppurtunities / chances to spring in more surprise impactful songs like / on da lines of Main Jahaan Rahu and Apne Toh Apne Hote Hain in da future that would help himesh in his cause to win over some haters if not all.

While it could be easily argued that Yahi Hota Hai Pyar is most catchiest melody of Namastey London and the best song in the album, and it is catchier than Main Jahaan Rahu...but at the same time despite that, there is something 'special' and 'magical' about Main Jahaan Rahu which makes it 'evergreen'...Main Jahaan Jahu has become Himesh ki pechaan in the last decade, and Himesh said that Namastey London will be a truly different hatke album from his other albums at that time, as he had composed 'Bandish Raag based tunes' as can be heard in Yahi Hota Pyar, Main Jahaan Rahu, Veeraniyaan...and also have variety like Chakna Chakna, Rafta Rafta which were Punjabi based Hip Hop RnB, and Dilruba Dilnasheen which was club trax...and even listeners took time to realize that this album was different, and then after some time it was lapped up.

Awards and Nominations

Himesh should have won all best composer awards for this album, Main Jahaan Rahu and Yahi Hota Pyaar were already more than enough to get him those awards. After Himesh won best playback singer award, there seems to be lot of backlash towards jury and some conspiracy towards Himesh to exclude him in future. Also, Namastey London was victim of overdose of Himesh albums at that time and even listeners were warming up to its tunes after 2-3 weeks after overlooking it initially and later realizing that this album is 'truly different' from the usual Himesh albums releasing in that daur. It will take a special effort from jury to deliberately ignore such an album, something to do with bad politics and lobby groups.

My Picks

From Himesh's "sung n composed' songs:

1. Yahi Hota Hai Pyar (one of best post-ABA Himesh 'sung n composed' semi classical songs)

BEST PART in song is Himesh's mukhda lines, DILE BEKARAAR (terrific twist) from 1.11 to 1.13, MERE DILE BE (OFF-DA-HOOK fulltu sudden high-pitched voice rise) KARAAR from 1.28 to 1.33 on typical unique HR melody, HAI (halke se feel) from 1.34 and Sunithi's line, MERE DILE BE (HISTORY fulltu sudden high-pitched voice rise) KARAAR from 1.41 to 1.46 on typical unique HR melody followed by a raga instrument from 1.48 to 1.49 that gives completeness effect. Himesh's line, AAR (off-da-hook catchy twist) at 1.21, 3.18 & 5.45 followed by off-da-hook household quick bounce effect from 1.22 to 1.23, 3.19 to 3.21 & 5.46 to 5.47, This song is an illustration of a simplified raag based melody in its true sense i.e. the mukhda line, BEKA-RA-AA-AA-AA-AR (catchy 5 step down twist) is a branch of complex raags but mixed wonderfully with commercial sensibility in a simplified semi classical song.

Himesh's best lines in the song, DILE BE (History fulltu high pitch) KARAAR-AR-AR-AR-AR (off-da-hook prolonged twist) from 1:17 to 1:21, 1:29 to 1:33, 3:15 to 3:19, 3:27 to 3:31, 5:42 to 5:46 & 5:53 to 5:58, Off-da-hook household quick bounce effect from 1.21 to 1.23 gives intermittent kick. The quick rhythmic Tabla loop pattern in Sync with Himesh's lines from 1:19 to 1:21 and the terrific emotional penetrating raga instrument from 1.48 to 1.49 after Sunithi's lines, both catch classical pulse of the listener.

For certain lyrics, a punch is required to convey its impact whereby that vocal note cannot be flat e.g. in Yahi Hota Hai Pyaar, Himesh's line BE (fulltu high pitch) KARAAR where the kill comes on the word BE (fulltu high pitch) as the lyric BEKARAAR (means restless) and the way Himesh sings it is with full of AAH and andhar ki Awaaz to express and vent out all the restless and desperation from the lover's point of view. If this note on BE-KARAAR was Flat (instead of sudden steep high pitch note) and sung without half the punch, the whole impact and intent of the mukhda line would have gone away, in terms to express the desperation feel.

When Yahi Hota Hai Pyaar appears in the Narrative, the lovers are at crossroads. Akshay has that desperation effort to win over and Katrina is in dilemma to give in. The way Himesh sings with intense Heartfelt vocals with Tadap and Kashish to convey Akki's feelings, and Sunithi sings with a desperation feel to show the confusion, dilemma and vulnerability of Kat, and  lyrics are perfect for situation...Yahi Hota Pyaar Hai Kya? Mere Dil-E-Bekaraar!

2. Chakna Chakna

Himesh's lines, CHAKNA CHAKNA (higher pitched) from 1.14 to 1.37 are the BUILD UP melody part, followed by his lines CHAKNA CHAKNA (lower pitched) from 1.37 to 1.48 which give the total melody impact to previous lines and get the listener into the zone.

3. Veeraniyaan

Underlying beats are laidback with a hard hit pattern. The subtle female croons from 1.20 to 1.23, 2.07 to 2.16 & 5.32 to 5.35 depict the desperation plea. Himesh's line, ME TUM BIN (subtle feel vocals) from 1.02 to 1.04 & 1.32 to 1.35, YEH VEERANIYA (terrific fulltu high pitched) from 1.14 to 1.15, 1.44 to 1.45, 5.20 to 5.21 & 5.26 to 5.27, Off-da-hook beat effect from 1.35 to 1.36, 2.55 to 2.56 & 4.51 to 4.52, Himesh's lines, SUNE SUNE SAARE RASTE HAIN (sharp knife edge Sufi Rwak vocals) from 2.17 to 2.20 in 1st stanza & SAANS LOON TOH SEENE MEIN JAISE (sharp knife edge Sufi Rwak vocals) from 4.12 to 4.16 in 2nd stanza is slogan type singing. Himesh's line, PHAAS (arrogant feel emphasis) at 4.22, Himesh gets into bandish mode with his prolonged super classical twist JAAAANA from 2.32 to 2.40 in 1st stanza & from 4.27 to 4.35 in 2nd stanza. Between 2nd stanza gap, the mysterious female croons with haunt feel laidback beat effect from 3.24 to 3.45 along with intermittent bansuri piece are followed by full on rhythmic beats with funky bazz guitar piece (best instrumental part of song) from 3.46 to 4.01 that get listener into da zone, followed by subtle female croons from 4.03 to 4.11 which convey the desperation plea. Himesh's vocals and the hard laidback beat pattern deliberately go 'out of sync' from 4.35 to 4.50 but still give a great overall effect. 

From Himesh's "composed only" songs:

1.  Rafta Rafta & Main Jaha Rahu (tie)

Main Jahaan Rahu (Rahat Fateh Ali Khan Version)

Terrific raga tune from 1.25 to 1.28 has an emotional konnekt.

Main Jahaan Rahu (Krishna Version)

It had 2 versions, but the Rahat version was more popular and completely sidelined and overshadowed the Krishna Beura version. However, the Krishna version has more Sufi Rwak singing touch in it with casual raw ustad vocals. Krishna's BEST line is right at the end i.e. HAAAAAAAAAI (OFF-DA-HOOK fulltu high pitch emphasis vocal kill effect) from 6.12 to 6.16

Krishna Beura also expressed his frustration at not getting his due recognition for this song when he sung it live.

Rafta Rafta

rdb

Himesh - the composer and RDB - the singer rwaked it in this cult catchy Punjabi flavored song. The song which is filled with energy and vigor, really grows upon and hooks onto the listener with time. It has an underlying rhythmic skip pattern that gets da listener swaying into its groove, along with some cult rebellious instrumentals most notably the cult catchy Punjabi theme instrumental piece with echo effect from 0.16 to 0.25, 3.16 to 3.20, from 2.32 to 2.43 in 1st stanza, from 3.35 to 3.46 in 2nd stanza, and the cult string based folk instrument from 2.03 to 2.22 that plays wickedly in between 1st stanza. 2nd stanza lyrics KEKASHA KE RASTE MEIN TERA GHAR BHI AATA HAI are outstanding by Javed Akthar.

Kuly (Kuldeep Rai), one of the most talented UK Punjabi singer of renowned RDB band unfortunately passed away in May 2012. His USP was his SHARP vocals at HIGH PITCH n this can be evidenced in his best lines DIL KHUDA (OFF-DA-HOOK desperation plea twist whereby he pours out his heart n wins over da listener) from 1.17 to 1.18 & 1.35 to 1.36, ISHQ SE-EE (HISTORY fulltu high pitched vocal kill effect that gives jazba) from 1.20 to 1.21 & 1.37 to 1.39, MERA AFSANA (terrific singing) from 1.31 to 1.32 which he sung for Himesh. This bloake was a stud n a style icon with many young aspiring pop bhangra singers looking up to him. May his musical legacy live on forever.

3. Aanan Fanaan & Dilruba Dilnasheen (tie)

Aanan Faanan

It is a fairytale song. Underlying rhythmic beat has a quick skip pattern, along with underlying guitar riffs throughout. Majestic jingle chime heavenly effect from 2.33 to 2.40 in between 1st stanza gap as if listener is in fairyland. Awesome desperation feel violin piece from 3.53 to 4.12 along with semi plugged beat skips in between 2nd stanza gap. The song is in full form from 2nd stanza onwards with Jayesh's passionate feel good vocals DIL JISE DHUNDE HAI from 4.12 onwards. Jayesh's stand out lines are, PARI-IIIII (prolonged catchy passionate feel) from 3.04 to 3.06 in 1st stanza, HA-AAAI (prolonged catchy passionate feel) from 4.35 to 4.37 in 2nd stanza.

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