Sometimes it is hard to say that who is better, Himesh - the pre ABA composer or Himesh - the post ABA composer i.e. if somebody plays Aap Ka Suroor album and listens to Tera Suroor followed by Naam Hai Tera, and then plays Tere Naam and listens to Title Trax followed by Oodhni, it is really a tough one, and it is really hard to pick out that which composer is/was better.

Himesh - the pre ABA composer

His composition style comprised mainly of TYPICAL UNIQUE HR MELODY.

He composed:

> Duet love ballads sung mostly by Kumar Sanu (near debut), Udit Narayan and Alka Yagnik.

> Item / Stage / Club numbers sung mostly by Shaan, KK and Sunithi Chauhan.


Trademark instrumental elements:

> Combo of typical old styled beats comprising of raw drum hit / thump pattern that gives "halke se kick" and quick catchy instrumental theme pieces used intermittently in his early days near his debut e.g. in AMAR PREM TITLE TRAX, JANAM TERE LIYE and SANAM MERE HUMRAAZ.

> Fast paced tabla beats at start of stanzas.

> Household string based instrument / guitar riffs (with inherent twists) used mostly as theme piece at start e.g. in MERI NAS NAS MEIN TUM HO, KABHI NA SUKUN AAYA, JUST WALK INTO MY LIFE, DIL MERA TODO NA and so on.

> Quick rising majestic keyboard / piano flicks, especially in stanzas and near their ends.

> Three lazy laidback drum hits used intermittently at staza of stanzas.

> Oriental flute at start of serene tropical / seductive feel melodies e.g. in CHURA LIYA HAI TUMNE, IS TARAH DEEWANE, AAKHIYAAN LADAJA and so on.

> Gentle stereotyped underlying beat pattern in love duets.

> Grand "international feel" opening at start of item / club songs along with intermittent raw drum hits in between stanzas.

Trademark vocal elements:

> Jayesh Gandhi's high pitched passionate emphasis croons.

> Soothing female background chorus.

> African-ish male croons and female seductive feel croons of Suzanne D' Mello in item / stage / club numbers.


He was known as an A - league "Mr Consistent" composer who guaranteed alteast a couple of decent / hit tunes in his albums.

His music arrangement that was equally vital as the vocals was well structured and carefully laid out whereby da combined magic of tune pieces along with beat effects gave goosebumps and sensations.

To begin with, his music made a silent impression over time which later created some serious decent impression and with a sure steady growth that promised that himesh had it in him what it takes to rule da charts.

Himesh - the post ABA composer

His composition style comprised mainly of PROLONGED TWISTS N TURNS.

He composed:

> Sufi Rwak "sung n composed" songs.

> Semi Classical "sung n composed" songs whereby ustad Himesh Reshammiya was at da helm of affairs.

> "Composed only" songs that has traces of Himesh - the pre ABA composer.


Trademark instrumental elements:

> Signature passionate violin piece used at start and in between stanza gaps.

> Bazz trumpet.

> Profound quick tabla beats.

> Raga tunes in semi classical songs.

> Heavy quick intermittent beat effects.

Trademark vocal elements:

> Sudden abrupt pitch changes / variations i.e. a same line sung with middle or lower octave vocals with inner ghehrayi and that same line followed by fulltu high pitched vocals, e.g. mukhda of KOLA LAKA VELLARI, TERE SANG ISHQ, OM NAMO NAYARAYAN and so on.

> Variations in repetitive catchy hooks i.e. most phrases of that hook are usually sung in high pitch with either a subtle variation or a profound twist in one of da hook phrase, e.g. observe da variations in AASHIQ BANAYA * 3, AAJA * 5, TANHAIYAAN * 5, LUT JAUN * 4 and so on.

> Ustad emphasis on notes with twists n turns along with a dying effect which is his trademark sufi rwak vocal finishing effect.

> Well structured prolonged alaaps / croons used as theme piece at start and in between stanza gaps e.g. TERA SUROOR, O JAANA LOVE U MISS U, AASHIQ BANAYA AAPNE, JHALAK, TADAP, MERI AAWARGI, LUT JAUN, TANHA JIYA NA JAAYE, TERE BIN CHAIN NA AAVE, RANJHNA, AAP KI KHATIR and RABBA LUCK BARSA.

> Feel good male rap by Arya mostly used in stanzas of "composed only" songs e.g. CHEENA RE, DIL DE DIYA SEENE SE NIKAL KE, LETS ROCK, TUNE MERA CHAIN VAIN LE LIYA and so on.


He earned his spot as da Numero Uno Composer with those back to back killer chartbusters.

His loud and heavy "catchy" orchestration complimented his fulltu vocals that did most of da talkin.

His music created mass hysteria and became a rage with those that it clicked.

If Himesh Reshammiya fans actually go through some of the music reviews and Top 5 music charts in the archive section of in 2006, then they would discover that their music reviewer Mr Joginder Tuteja who is the most reputed n followed critic has openly referred to Himesh as the 'Numero Uno No.1 Composer' at the time when his chartbusting albums like Aksar, Tom Dick N Harry, 36 China Town n even his debut album Aap Ka Suroor released back to back...he acknowledged the fact that Himesh was the best composer n above all other composers.


The comparison between Himesh - the pre ABA composer and Himesh - the post ABA composer is like A CONTRAST BETWEEN TWO EXTREME OPPOSITE ENDS / WORLDS just like chalk and cheese which are distinctively different from each other with their own unique styles.

It is difficult to believe that the innocent dhokla boy who churned infectiously catchy melodies from the backstage / parde ke peeche as a composer in pre ABA era would suddenly turn on da heat and da musical world upside down with his killer sufi rwak andaz in post ABA era.

In terms of composition style, it is like a split personality of two avatars in one single composer.

He has been labelled as being "original to da core, but repeats himself to death".

This is actually a compliment as his original record over his career span is phenominally outstanding and as far as repetition, it is not plagairism as no artist can be accused of copying from his own work that he himself originally created by default to begin with.

He basically gets inspired, borrows and draws reference from his earlier past works and that is why listeners can more often than not associate with his "brand himesh stamp" in his songs due to which they either totally konnect / get hooked on to his sound or either completely dislike it, hence proving true the statement "you either love him or hate him, but you cannot ignore him", especially more so in da post ABA era.

It is known that Himesh is multi-talented and has donned various hats progressively in both pre ABA and post ABA era i.e. first a composer, then a singer and an actor.

But da USP of his fame, popularity and success that created rage and mass hysteria is his KILLER SUFI RWAK VOICE which is mainly responsible for where he has reached today thus far, while the remaining attributes have only helped him further in his cause.

Himesh has always been a top notch composer but did not get his full due and recognition to its max potential in pre ABA era, but it is his avatar as Himesh - the singer that made all da difference and make it count big time in post ABA era to take his music to da top undisputed league, something he deserved from da very outset.

Thanks to his vocals that did da job of upgrading his 4wd sports car (i.e. his music) to turbo mode and put it into overdrive or like adding an igniting fuel spark to a potential dynamite (i.e. his music) that was just waiting to explode to da next level, couldn't have asked for an ideally better / right calalyst mix to spur on a dhamaka in da music scene.

In terms of romantic melodious ballads, Himesh - the pre ABA composer is way superior to Himesh - the post ABA composer, even in terms of item/club songs, they both go neck to neck. Where Himesh - the post ABA composer excels is in the Sufi Rwak n Semi Classical genre, along with new age sound n experimentation.

One of the key difference in between Himesh - the pre ABA composer n Himesh - the post ABA composer is that there was a predictability of the sound zone domain in the case of Himesh - the pre ABA composer, whereas there is lot of unpredictability of the sound zone domain in the case of Himesh - the post ABA other words, the listener could predict what kind of sound Himesh - the pre ABA composer would give, n it was clustered in a more narrower sound zone, whereas the listener cannot predict to that extent what kind of sound Himesh - the post ABA composer would give, n it is scattered in a more wider sound zone...n the reason for this is that Himesh - the pre ABA composer stuck to his trademark stamp without much experimentation and without influence by other sounds, whereas Himesh - the post ABA composer has experimented much with various styles, and also been influenced by other sounds.

One of the biggest unexpected surprises of Himesh - the composer is how he suddenly mastered the Sufi Rwak genre after having his core base in Indian melody based songs...he gave an initial impression that his strength was in Indian melodies, but showed his versatility n another facet by a contrast shift of sound domain with Sufi Rwak is amazing to know that a composer with Indian based values n roots would go on to display such finer nuances of Sufi Rwak genre, to an extent that no other Bollywood composer could match him in this unparalled genre of which he became a master.

in recent times, Himesh has been inspired by works of other Btown composers i.e. Dard Dilon Ke (Tum Hi Ho), Catch Me If U Can (Dhan Tan Nan), Long Drive (Amplifier - Imran Khan)...inspire doesn't mean copy, but getting inspired by some portions, the overall mood feel pattern tempo template etc of song, n keeping those elements in mind when making your own song. 
In recent times, Himesh has preferred n favored Palak Mucchal, Neeti Mohan n Shalmali Kholdage for female playback, n forgotten Shreya Ghoshal...n in terms of male playback, he has forgotten Suk Kshetra contestants n favored/preferred Ankit Tiwary from the new lot (Sheeshe Ka Samundar, Dhoom Dhaam) n Mohd Irfan (Tu Hi Tu, Dard Dilon Ke). 
There was a time when Himesh gave 36 back to back hits, there was a time when his 6-7 albums all used to be hits in pre ABA era and 2005-2006, but after that he over did the albums from 2006-2007 mostly in Sufi Rwak zone and sung majority of songs in similar tone...after that he went selective, and now he prefers to do only around 3 albums per year. If Himesh sings in only his projects as actor, and only 1 song for an outside film...and takes around 4-5 outside films as composer, they can all be successful and his exclusivity and USP for his own films will be maintained, but those outside films should have versatile music which is distinguishable from each other, and not massy music which has limited shelf life and then forgotten soon after.
In recent round table music conversation on Box Office India panel hosted by Shekhar (of VS), Kanika Kapoor said that she gave 6 hits in past year and plans to give 6 more hits in the next year. Himesh suggested to her that she should go exclusive and choose only selective work, and this will ensure a longer life span of her singing career in Bollywood. Kanika said, that joh dikhta hai wohi bikhta hai and since her voice has been accepted in a big way, she doesn't want to go off radar and being forgotten about, as it is hard to start from scratch and/or build again. Why does Himesh think and believe that going exclusive is the only solution. Even when he was exclusive...his albums like Karzzzz, Kajraare, Damadamm, Radio were not that big hits as compared to ABA, Aksar, 36 China Town etc that came back to back. Sameer ji said to Himesh once, ke aap apna level of music itna upar le jao. So if that level of music remains high, everything will work and become hit...not necessarily by becoming exclusive. Quality and content of songs speaks for itself.
Himesh says that before he used to work on conviction while selecting songs for films, but now he does sampling of songs by making some set of people hear them out and getting various opinions, and then approving them in films, because he is in zone where he wants things as a safe bet, and although he has around 200 new songs, but some experimental songs which may have been very great songs, even than some of those that have released...may never see release anytime soon, due to the random sampling selection policy.
Aaj kal Himesh apne gaano ki sampling karte hain, joh approve hota hai usko rakhte hai aur koh reject ho jaata hai usko scrap kar dete hain...aisa bhi toh ho satka hai ke joh log unke gaano ki sampling karte hain, woh Himesh koh gumraah karte ho...aur is chakkar mein, shayad kuch bhaut acche gaane scrap ho jaate pre ABA, Himesh only used to trust his gut feel and instincts.
Sometimes when Himesh is making softer songs, he should take conscious effort to make whole song in Middle Octave...e.g. some songs appeal in both middle and high pitch, like...Main Jahaan Rahu, starting part is subtle and then Kehne Koh Saath Apne portion is high pitched, but the song is likeable in both pitches...but e.g. a song like KITNA PYAR KARTE HAIN is in middle octave, and there is no high pitch so it gives a consistent enjoyable listening experience in that overall mood, and a song like Tere Bina, it starts in subtle middle octave range...but when the high notes arrive, Teri Yaad takes away from the overall mood and listening experience of song.
Tum Mile from My Name Is Anthony Gonsalves (Anu Malik style), Dil Ki Daro Deewar Pe, Tu Hai Ishq from Fear & Meri Aankhen Mein, Bhoolna Nahi from Yakeen (Nadeem Shravan style), Sawariya No Way from Anthony Kaun Hai (Pritam style), Dhadkan Ho Gayee from Julie & Tumhe Jitna Bhulate Hain from Shukriya (Nikhil Vinay style).
The female anchor Bhumika Chawla pronounces Himesh's surname incorrectly at 0:06, Himesh walks towards the stage with a sense of satisfaction and thanks God, Dad, Salman, T-series, the producers, director, singers and entire unit of Tere Naam. He receives his award with Gratitude.
If Himesh wants to top the charts again then he must give that brand and style of pre Aashiq Banaya Aapne music again, and sing them like Milenge Milenge Version 2. His old style pre Aashiq Banaya Aapne music was Classy and Appealing to everybody, but high pitched Sufi Rwak appeals to his hard core fans (in today's times its craze is questionable?? as opposed to ABA, Jhalak and 2005-2007 days)...and somehow the songs in his other 'Radio' voice didn't catch on with listeners despite some very good songs i.e. Jaaneman, Shaam Ho Chali, Rafa Dafa, Yun Toh Mera Dil etc.. So he should definitely try out his old Success formula and mantra again.

His high pitch sounds thin and lower octave sounds heavy...the main reason why some of his songs are not creating that impact is because he is mixing high and low pitch together in certain songs e.g. Soni...nice flowing soothing song in middle octave, but high pitched lines O SONI VE could be avoided...same thing for Teri Arziyan, nice flowing song in middle octave, but high pitched lines OOO MUJHE HAI IF TU could be avoided, because it spoils the overall pleasant mood of song. If he avoids these high pitched lines and lets these songs be in KITNA PYAR KARTE HAIN (Banaras) mode, then more people would be hearing these 2 songs from Aap Se Mausiiquii and their impact will be more, such subtle things make a huge overall difference.
Does exclusive mean = lack of big banner or no big banner projects. Vinay Sapru - Radhika ki small film karne se kuch bara dhamaka nahi hone waala...what happened to Sanam Teri Kasam despite being a klassik album, as compared to Sultan, Bajrangi Bhaijaan or ADHM. Himesh needs big banners and big projects in his kitty that get full exposure and max promotion, chahe phir woh exclusive hi rahe. Even Tera Surroor 2 was a good album but it got limited appeal, even Aap Se Mausiiquii hasn't had anywhere that kind of craze that Aap Ka Surroor had, something is missing and something big needs to happen. Himesh has composed good songs in 2016 in Sanam Teri Kasam, Teraa Surroor 2 and Aap Se Mausiiquii, as compared to what he was composing couple years back in Policegiri, Shortcut Romeo. But still that red hot killer impact is missing and he needs to come back in mainstream bollywood with a bang again. Himesh is working on Radhika - Vinay's next small budget film and his fimly projects like Heeriye...and it is upto Salman that he is recommending in Sooraj Bharjatya's next and perhaps Kick 2. These days even Akshay Kumar and Ajay Devgn are working with other composers. Himesh should reconsider and really think about his music scene as far as Bollywood projects are concerned. Is 'being exclusive' policy really working for Himesh, what is the point of being exclusive when a composer doesn't have any big banner projects in their kitty, and working on small banner films like Vinay Sapru - Radhika's next along with his filmy projects as an actor like Heeriye. This being exclusive policy is making Himesh neglected in bollywood music scene.
Masoom HR showing his award...after winning in MTV Lycra Awards for Best Music Style Icon.

Joh Jeeta wahi Sikandar aur Superstar.