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A Tribute to Himesh Reshammiya (FANCLUB) (Page 146)

Jem4Himesh IF-Sizzlerz
Jem4Himesh
Jem4Himesh

Joined: 14 November 2004
Posts: 10839

Posted: 15 April 2006 at 7:42am | IP Logged
Originally posted by HR ki sayyonni

Originally posted by Jem4Himesh

Originally posted by HR ki sayyonni

But Jemdi .....aap HKD # 1

sirf ye hi achcha hai Wink

ooh hoooo.......aaah haaa.....

Whatever di .....whatever !!!!..........LOL

LOLLOLLOL its okay sis don't worry everyone knows what his biggest deewani has suffered for him Wink tum sab baad mein aayeTongue

HR ki sayyonni IF-Dazzler
HR ki sayyonni
HR ki sayyonni

Joined: 31 December 2005
Posts: 2689

Posted: 15 April 2006 at 7:47am | IP Logged
Originally posted by Jem4Himesh

Originally posted by HR ki sayyonni

Originally posted by Jem4Himesh

Originally posted by HR ki sayyonni

But Jemdi .....aap HKD # 1

sirf ye hi achcha hai Wink

ooh hoooo.......aaah haaa.....

Whatever di .....whatever !!!!..........LOL

LOLLOLLOL its okay sis don't worry everyone knows what his biggest deewani has suffered for him Wink tum sab baad mein aayeTongue

aaree di..... .....only 4 dis reason i gave u dis title .........HKD#1 EmbarrassedEmbarrassed

then it was us ( celina aur mai) ......HKD#2.................Embarrassed

all after U......Wink

HR ki sayyonni IF-Dazzler
HR ki sayyonni
HR ki sayyonni

Joined: 31 December 2005
Posts: 2689

Posted: 15 April 2006 at 7:55am | IP Logged

di ......

i was jus wondering abt himeshji's makeover .......

wat do u think he's gonna come up wid ..........sure he's not gonaa remove his cap ........but is he gonna shave his beard ( french style) ..........yuck......Dead

BTW wat r ur thoughts.....???Smile

But WE love him da way he is ...........don't we??EmbarrassedEmbarrassedEmbarrassed

teenindia_usa IF-Sizzlerz
teenindia_usa
teenindia_usa

Joined: 27 February 2005
Posts: 10569

Posted: 15 April 2006 at 8:09am | IP Logged
Originally posted by teenindia_usa

Originally posted by RAJEEVforAAMNA

Grandslam

Rajiv Vijayakar
Posted online: Friday, April 14, 2006 at 0000 hours IST


     
It is unprecedented. For more than six months now. Himesh Reshammiya has held unrelenting sway on the film charts, first with Aashiq Banaya Aapne (in which he made a phenomenally successful debut as a playback singer), then Aksar and now Tom Dick And Harry. In each of these film soundtracks, the prime chartbusters are those that Himesh has also sung. Simultaneously, for almost two months now, the non-film charts have been topped by Himesh's first basic album (which he has sung solo) - Aap Ka Surroor.
In a music industry reeling under plunging sales in physical format, such a phenomenon - of a single individual annexing top slots with terrific sales in film and non-film charts, that too as both music director and singer - is indeed unique. Also making news is his 'lucky makeover' comprising of a frayed cap and a jacket complemented with a melancholy look and a stubble.
For a man who began his career as a composer by merely composing catchy title-songs for his own TV serials and started his film innings with a single but chartbusting title-song in the 1998 Pyaar Kiya To Darna Kya, it's been a steadily ascending graph from piece-meal compositions in Hello Brother, Bandhan and Jodi No.1 and the initial support of Salman Khan to the upswing that came with Humraaz, Tere Naam (still the biggest-selling film score in the last five years), Aitraaz and others. But if he has garnered all the hosannas recently (apart from some popular awards for his vocals in Aashiq..), Himesh has also faced flak for his nasal voice and his vocal overdrive. Initially a shade defensive and reticent, Himesh opens up gradually about his current career highs in a candid interview. Excerpts.

It's been a grand-slam for you - no one's ever topped both the film and non-film charts before - that too both as a music director and singer.
It is a great moment for me and I am very thankful to God and my audience. As for the singing part, Aashiq Banaya Aapne just happened because my director Aditya Datt heard me sing on the demo tracks and decided that he wanted a fresh, different kind of voice instead of one of the regular singers. He thought that no singer could have given that novel flavour to those songs. Besides, I am a classically-trained singer, so it's not that I am doing something in which I am not really qualified.

But did you never ever wish or feel like singing, or coming out with an album?
Yes, there were definite plans for an album with someone else. But Aditya was very strong in his conviction and that convinced me. But let me make a categorical statement - I was, am and will always be primarily a music director. It will always be Himesh the composer who will decide who will sing a song, because for him, Himesh is just one more singer who will be chosen according to the song.

Isn't there an overkill of your voice after the first success?
I do not think so. I received criticism for 'Aashiq banaya...' (the title-track), and they said that my voice was nasal. But 'Aap ki kashish...' from the same film and 'I love you Sayoni...' from Aap Ka Surroor were middle-octave songs and not nasal at all. Then there was 'Chhed de pyaar ki baat...' from the album that was in the lower octave. For 'Jhoom jhoom...' (Tom Dick And Harry) the need of the song was middle-octave. The response to all the songs that I have sung myself shows that I am not doing anything stupid just to try and become a singer, or even to act in videos. I would even say that the process of becoming a rock star has begun, even if it was unplanned.

You said on record recently that among others you would sing only for A.R.Rahman. Why is that?
Look, I am not trying to make a career as a singer. So I am not exactly in the market. I may choose something extraordinary composed by a colleague - so many factors will decide that, beginning with the comfort level. Why I mentioned Rahman is because first, I am a great fan of his, and two, because he had praised my music in Aashiq Banaya Aapne very lavishly.

This unprecedented high - does it tend to make you complacent about knowing the pulse of the audience?
Main audience pulse ke baare mein ek hi baat samajh chuka hoon, and that is that every three or four months they need a change, and therefore you will see me giving them that change before they get tired of my music. In the past, if a trend was set, it would last for 3-4 years. Now it lasts only for a few months. Therefore it is very important to prove yourself again and again. Today, every music director is known only by his last album.

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What is your analysis of this trend?
Well, from one perspective, it's a complete break from the past. But at another level, the melody still has to be strong. The success of all my recent albums is only because I have experimented with sound and beats, or the orchestration, but maintained the solid foundation of raags and bandishein. Yes, I have changed the selection of the notes and taken recourse to mishran (mixing of raags) to help make a song simpler and in sync with today's tastes. Other than this, I don't think that there is any magic formula or trick. Jo accha hai wohi chal rahaa hai. When my critics dismissed Aashiq... as a fluke, they became a little confused when Aksar too proved a chartbuster, and now Aap Ka Surroor and Tom Dick And Harry too are massive hits. T-Series tells me that Aap Ka Surroor is the biggest non-film album in the history of Indian popular music. I have recorded a promotional song for their film Humko Deewana Kar Gaye which has also been sung by Bhushan (Kumar)-ji's sister Tulsi Kumar and me, though the music for the film has been scored by Anu (Malik)-ji.

Isn't that unethical?
Not at all. Anu-ji had given them his consent, so when I am given a privilege like this why should I not respect it?

Your progress before was slow but steady, with milestones like Humraaz and Tere Naam. But does this sudden flood of good fortune make you insecure or give you a sense of pressure to sustain this mass popularity?
I think that the best thing I can do under the circumstances is stop thinking about comparisons and about being able to deliver hits. My success only consolidates my desire to work harder than ever. I make sure now that I try and compose 2-3 good tunes every day. I have also augmented my stock of compositions from 600-700 to almost a thousand today. I also go back to the compositions I made two years ago and update them, and you too have seen the change in all my recent work vis--vis a Tere Naam or even an Aitraaz.

How can one cold-bloodedly compose 2-3 songs per day when creation is based on inspiration? Won't quality suffer?
My father, Vipin Reshammiya, whose contribution to my success ranks next only to God, has taught me one vital lesson - kaam kaam ko sikhaata hai. Any singer and composer will tell you the importance of riyaaz. Suron ko roz behna padega, otherwise you rust. Take our giant composers like Shanker-Jaikishan, Laxmikant-Pyarelal, Kalyanji-Anandji and RD Burman - they all did their best work jab unke paas zyaada kaam tha. To remain mentally active is a must for any creative person.

Singing is emoting what has been created, but composing is creating something that did not previously exist. It would be fascinating to know how you go about this as a daily exercise.
I can only attribute it to divine intervention that I can accomplish this almost on a daily basis. I offer a prayer and a higher Power sees to it that my creative juices begin to flow. I prefer the mornings for this work, and I do not necessarily have to sit in one place for this. I may be taking a walk when a hook-line or word comes to me. Then I work at it till I am satisfied. I also have points of inspiration, like composing something that could have replaced an existing great song in a specific film's stoy and situation. At other times I take recourse to Sameer-ji's stock of lyrics that I have with me and compose them. Finally, I do not necessarily use my stock - we may create something fresh if we get a good situation and a patient filmmaker.

Is it necessary only to work with one lyricist? Nadeem-Shravan did that and lost out on freshness and variety. Even masters like Naushad and Shanker-Jaikishan could have brought in more variety had they not stuck to one writer at their peaks.
I agree completely. I would love to work with Gulzar-saab, Javed-saab and others, and I assure you that it will happen. I am doing a film with Irshad Kamil. I would love to work again with Sudhakar (Sharma)-ji which whom too I worked almost exclusively before Tere Naam. But there are a lot of angles to this: Sameer-ji's stock is there with me and he also drops in whenever possible, because over the 30-odd films we have done our tuning has been amazing. He works very fast and is a master at technicalities like metres and understands my musical phrasing. He too shares my belief that that one must constantly keep reinventing to avoid becoming dated. This is the great secret of his sustained success. As for the variety, we have shown a range from my recent hits to Tere Naam, to Subhash (Ghai)-ji's Shaadi Se Pehle and 36, China Town (two films whose musical needs are completely diverse) and Banaras - A Mystic Love Story, in which I have gone completely into the subject and taken recourse to composing tunes in the tradition of the Banaras Gharana alone.

What else can we expect from you, especially as you plan a metamorphosis every few months?
I have always believed in opening my cards very slowly, and I have been lucky to be able to do so successfully and at the right time. At 16, I started producing TV serials based on my own story ideas and simultaneously trying out audience response to the title-songs that I composed for them. My earlier films had completely Indian music. When everyone thought that I could do only that kind of music I came out with trendy, young songs like 'Nikamma kiya...' from Kyaa Dil Ne Kahaa and 'Mohabbat hai mirchi...' from Chura Liyaa Hai Tumne. Before they could brand me as a 'modern', rhythm-oriented tunesmith I composed the semi-classical Tere Naam. The next change came with Maine Pyar Kyun Kiya's 'Just chill...'. And then came the Sufi flavour of Aashiq Banaya Aapne. Next in my agenda of newness in my songs are world music, rock and other styles.

But all this, one guesses, will be on a foundation of Indian melody.
Absolutely. Melody and the foundation of our raags and folk is something that I will never leave in life. It is also my belief - as well as an incontrovertible fact - that all the new sounds and styles have to be used on our own foundation to make them popular and enduring. Look at the achievements of Shanker-Jaikishan, Laxmikant-Pyarelal and RD Burman - they constantly broke, set and reset rules, but never once did they neglect basic Indian melody. Unki consistency saalon saal chali.

Despite all the success on your own steam, you have yet to work with Amitabh Bachchan, Aamir Khan, Shah Rukh Khan and the biggest as well as truly musical names among filmmakers.
I am confident that things will fall into place when the time comes. Yeh sab to sanjog ki baatein hai. Laxmikant-Pyarelal never had a song enacted by Raj Kapoor but when Raj-ji wanted a change from Shanker-Jaikishan, he chose them as a filmmaker and they collaborated on three fabulous scores.

On the other hand, you are virtually a fixture with Mukta Arts and onto your fourth film in three years with Subhash Ghai, even if they are not directed by him.
I am very privileged to work with Subhash-ji. Though none of the three films I have done (Aitraaz, Shaadi Se Pehle and 36, China Town) or the film I am doing (Good Boy, Bad Boy) are directed by him, he is the most active participant in their music. I have learnt a lot from him because he is a genuine and passionate filmmaker. There are no pressures in his film to deliver just hits. The idea is to makemusic that goes with the story and characters and clicks along with the film. Subhash-ji has also taught me how not to be insecure but to keep at it and adapt to changes without compromise in quality.

You have been a judge on a TV talent hunt. There are so many of these reality music shows today. What are your views on them?
I think that they are the need of the times. New talents, irrespective of how good they are, at least get a platform to show their talent, or at another level, test and assess it.

But there are controversies about them, discord on the sets, and allegations of rigging in abundance. Many of the finalists seem to also be below average.
I think what is lacking is a clear framework of criteria to eliminate ambiguities, because music is always a point of view. As a music director, I know that the best of singers can sound off-key if they do not get the correct composition. Every singer has areas of strength and weakness that should be kept in mind by a composer - and by the singer himself.

In an era where duos are splitting, aren't you glad that you are solo?
It is sad when such things happen, because according to me, the first thing a duo must decide when they join hands is that they will never break the team, come what may. Duos do have certain advantages, but solo composers have been no less in our films.

What's with the new look and the lucky attire?
Prashant Chadha, the director of my first video, is a childhood friend and he wanted a certain look that caught on. There is now a certain identification and attachment from my audience to it, that's all.

You won many awards as a singer at the popular level. But you were upset that the Screen jury did not nominate you.
Yes, I was upset initially, but not now. As I said, music is a point of view. I won my career-first award from the Screen jury for Tere Naam when many other popular awards went to other music directors.. All this only spurs me to make sure that my work in the future is so unambiguously good that no award jury can ignore me. Of the 52 cards in my pack, I have barely opened six and there are lots more to come!

What else can we expect from you, especially as you plan a metamorphosis every few months?
I have always believed in opening my cards very slowly, and I have been lucky to be able to do so successfully and at the right time. At 16, I started producing TV serials based on my own story ideas and simultaneously trying out audience response to the title-songs that I composed for them. My earlier films had completely Indian music. When everyone thought that I could do only that kind of music I came out with trendy, young songs like 'Nikamma kiya...' from Kyaa Dil Ne Kahaa and 'Mohabbat hai mirchi...' from Chura Liyaa Hai Tumne. Before they could brand me as a 'modern', rhythm-oriented tunesmith I composed the semi-classical Tere Naam. The next change came with Maine Pyar Kyun Kiya's 'Just chill...'. And then came the Sufi flavour of Aashiq Banaya Aapne. Next in my agenda of newness in my songs are world music, rock and other styles.

But all this, one guesses, will be on a foundation of Indian melody.
Absolutely. Melody and the foundation of our raags and folk is something that I will never leave in life. It is also my belief - as well as an incontrovertible fact - that all the new sounds and styles have to be used on our own foundation to make them popular and enduring. Look at the achievements of Shanker-Jaikishan, Laxmikant-Pyarelal and RD Burman - they constantly broke, set and reset rules, but never once did they neglect basic Indian melody. Unki consistency saalon saal chali.

Despite all the success on your own steam, you have yet to work with Amitabh Bachchan, Aamir Khan, Shah Rukh Khan and the biggest as well as truly musical names among filmmakers.
I am confident that things will fall into place when the time comes. Yeh sab to sanjog ki baatein hai. Laxmikant-Pyarelal never had a song enacted by Raj Kapoor but when Raj-ji wanted a change from Shanker-Jaikishan, he chose them as a filmmaker and they collaborated on three fabulous scores.

On the other hand, you are virtually a fixture with Mukta Arts and onto your fourth film in three years with Subhash Ghai, even if they are not directed by him.
I am very privileged to work with Subhash-ji. Though none of the three films I have done (Aitraaz, Shaadi Se Pehle and 36, China Town) or the film I am doing (Good Boy, Bad Boy) are directed by him, he is the most active participant in their music. I have learnt a lot from him because he is a genuine and passionate filmmaker. There are no pressures in his film to deliver just hits. The idea is to makemusic that goes with the story and characters and clicks along with the film. Subhash-ji has also taught me how not to be insecure but to keep at it and adapt to changes without compromise in quality.

You have been a judge on a TV talent hunt. There are so many of these reality music shows today. What are your views on them?
I think that they are the need of the times. New talents, irrespective of how good they are, at least get a platform to show their talent, or at another level, test and assess it.

But there are controversies about them, discord on the sets, and allegations of rigging in abundance. Many of the finalists seem to also be below average.
I think what is lacking is a clear framework of criteria to eliminate ambiguities, because music is always a point of view. As a music director, I know that the best of singers can sound off-key if they do not get the correct composition. Every singer has areas of strength and weakness that should be kept in mind by a composer - and by the singer himself.

In an era where duos are splitting, aren't you glad that you are solo?
It is sad when such things happen, because according to me, the first thing a duo must decide when they join hands is that they will never break the team, come what may. Duos do have certain advantages, but solo composers have been no less in our films.

What's with the new look and the lucky attire?
Prashant Chadha, the director of my first video, is a childhood friend and he wanted a certain look that caught on. There is now a certain identification and attachment from my audience to it, that's all.

You won many awards as a singer at the popular level. But you were upset that the Screen jury did not nominate you.
Yes, I was upset initially, but not now. As I said, music is a point of view. I won my career-first award from the Screen jury for Tere Naam when many other popular awards went to other music directors.. All this only spurs me to make sure that my work in the future is so unambiguously good that no award jury can ignore me. Of the 52 cards in my pack, I have barely opened six and there are lots more to come!

teenindia_usa IF-Sizzlerz
teenindia_usa
teenindia_usa

Joined: 27 February 2005
Posts: 10569

Posted: 15 April 2006 at 8:10am | IP Logged
ash me here too need help onbanners and some more pics on paresh site
Jem4Himesh IF-Sizzlerz
Jem4Himesh
Jem4Himesh

Joined: 14 November 2004
Posts: 10839

Posted: 15 April 2006 at 8:20am | IP Logged

ash - i so don't want Himeshji to change his image i mean i will love him whatever way he is but he is fine now Embarrassed

sorry guys i was away for lunch if u PMd me i will check them now Embarrassed

teenindia_usa IF-Sizzlerz
teenindia_usa
teenindia_usa

Joined: 27 February 2005
Posts: 10569

Posted: 15 April 2006 at 8:23am | IP Logged
hi jem saw the video here on HR since we get show next week he was rocking on ek main aur ek tu....

he looked so happy have u seen video here or has show aired we get show next week ?

Also tonight seeing heat and again next week woohoo
teenindia_usa IF-Sizzlerz
teenindia_usa
teenindia_usa

Joined: 27 February 2005
Posts: 10569

Posted: 15 April 2006 at 8:25am | IP Logged
I also placed a long article on him here please read and tell U'r opinon

and in my eyes JEM u his #1

and than ash,badi,celina #2

me just a lover of his music

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