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A Tribute to Himesh Reshammiya (FANCLUB) (Page 301)

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

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Posted: 26 May 2006 at 12:22am | IP Logged
Splitsville: Why are music duos jinxed?
s it so difficult to stick together through changing times, success and failure and through a possible disharmony between the partners' families? Jatin-Lalit, for whom right now Fanaa is a swan song, are definitely not the first team to split and probably will not be the last either. Says Himesh Reshammiya,"The first thing that a duo must decide is that their team will not break, come what may. It is sad when these things happen." Echoes veteran Pyarelal,"Laxmi (Laxmikant) and I had decided that no one could be the cause of any trouble between us. Jo ek ke liye accha hain woh dono ke liye accha hai, aur jo ek ke liye kharaab hai woh dono ke liye theek nahin!' And yet the L-P team too almost split on an overseas concert trip in 1991. Says Pyarelal dismissively, 'That was just a tantrum on my part because of a trivial cause." But there was more to that than met the eye. Egos are fragile, easy tools for mischief-mongers and sycophants to turn one partner against another. L-P were lucky that Subhash Ghai took it upon himself to expose the culprit and bring about a rapprochement. But not all duos are equally fortunate.
Because the danger-point lies thus not necessarily in failure but also in success. There are any number of people (starting ironically with family members) who are willing to spark off and then stoke the fire of jealousy by insinuating that the other partner is (a) getting more than his share of acclaim (b) taking undue advantage in some way (c) actually contributing proportionately much less to work and success and (d) saying or indulging in wrong or clandestine things that are not congenial to good partnerships.

Even when teams sustain, there are always rumours and more of friction. There are sources that insist that Anand-Milind, the sons of Chitragupta, would have parted ways too if their boom phase had continued. As it is almost an axiom that neither breakaway partner succeeds as well as the team, it is said that the brothers stuck together only because separation in a low phase would have made things even worse. Senior filmmakers, lyricists and even some singers have unofficially confirmed the differences (though of a creative nature) between Kalyanji and Anandji even when they were at their peak. It is certain that the K-A record would have lasted far longer if the two brothers had been in complete harmony of thought and temperament. However, the brothers maintained exemplary dignity and preferred to quit, citing changes in trends, and continued to be respectful towards each other.
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Hindi cinema's first duo was Husnlal-Bhagatram, also the first duo of brothers, but it was the Shanker-Jaikishan team that proved that a duo had innate advantages over a solo composer. And yet as a team they could not last beyond their first 15 years. To date, the reasons for their parting are more speculated upon than made public, but depending on orientation, the culprits are said to be either Shanker's temporary flame Sharda, Jaikishan's wife Pallavi, or the more accomplished and better-trained Shanker's realization that he was getting less importance than his more popular and more business-savvy partner who was a natural genius. Today, as Jatin-Lalit's last signed film together, Fanaa, hits the screens after a good performance by the music on the charts, we find an epidemic of Split Personalities - within the last 12 months, Dilip Sen-Sameer Sen, Nadeem-Shravan and Nikhil-Vinay have also removed the hyphens that linked them. Of course, all cases have been in a way, different, and yet if we agree with Himesh on the idealistic situation, the underlying cause is always related to a damaged team-spirit vis--vis self-importance and ego. OUT OF SYNC:
The sons of musician Haldipur and composer Anil Biswas joined hands for less than 10 films from Pyar Mein Sauda Nahin (1982) to Kasam Teri Kasam (1993). Today, Utpal Biswas and Amar Haldipur work separately on albums and Amar, apart from scoring the film Dr Babasaheb Ambedkar, is content being musician and arranger. BASU-MANOHARI: These assistants to R.D.Burman were given a break by RD's mentor Mehmood in Sabse Bada Rupaiya. But they barely did a few films. Manohari is still an ace musician, while Basu tried going solo in the '90s with Nargis. DILIP SEN-SAMEER SEN: Sameer Sen, the orchestral half of this team, cited incompatibility as reason for the break with his uncle. Now Dilip Sen does small films using the name of the team (!) while Sameer has joined hands with brothers Lalit and Sanjeev to form the Sen Brothers! Neither have come up, of course, with anything half as impressive as their (few) joint successes like Meherbaan, Aaina, Yeh Dillagi and Ziddi. Jatin-lalit: Their decision to break away bodes ill for melody, with fans hoping that the fresh split is nipped in the Fanaa bud. JEET-PRITAM: They did just three films together, including Mere Yaar Ki Shaadi Hai, before parting ways on Jeet's initiative. Pritam is now one of our leading music directors after Dhoom, Garam Masala and Gangster, and Jeet is in oblivion. This was a unique case where a solo partner made it big when the team could not. MAHESH-KISHORE: They began on a high (Sanam Bewafa) in1991, but could not sustain beyond 6-7 films. MANDHIR-JATIN: This was the precursor of the Jatin-Lalit team. When they failed to make a mark all through the 1980s despite some half-a-dozen films, Mandhir opted out to assist his younger brothers Jatin and Lalit and help the latter make a fresh beginning. The ploy worked big-time through over 60 films - till their recent ill-fated split. NADEEM-SHRAVAN: Nadeem's sustained stay in London, and his alleged demand for unreasonably high fees first tapered off even steadfast loyalists, and now Nadeem is said to have entered business. While Shravan is said to resent this, in turn Nadeem has blamed Shravan for focusing on his sons (another duo, Sanjeev-Darshan!) and keeping him in the dark about turning a film producer! NIKHIL-VINAY: This prolific team's case is a mystery - with Vinay claiming that the team has broken up because Nikhil took on solo assignments, and the former confessing to this but adding that they were still together and (paradoxically) he had full hopes of a reconciliation! Shanker-Jaikishan: After thir split, both composed solo under the joint name. In many cases, like Arzoo, Andaz and Mera Naam Joker, they separately worked on different songs in the same films. SHYAM-SURENDER: In the '90s, these musicians-cum-assistants began impressively with Mashooq (1992) and scored a hit with Elaan (1994). But they fizzled out and Surinder Sodhi individually did a few songs, preferring to go solo as a 'background music' specialist. IN SYNC:
The duo is at their lowest ebb today, but at their peak they had aces like Qayamat Se Qayamat Tak and Dil. HUSNLAL-BHAGATRAM: The brothers stopped working as composers from the late '40s, and Bhagatram moved away from Mumbai. KALYANJI-ANANDJI: In films, they were together as long as they were active. But after they stopped signing films, Anandji worked on non-film albums alone, while Kalyanji continued to train new singers and did shows till he passed away. LAXMIKANT-PYARELAL: Despite the hiccup mentioned above, L-P remained an entity till Laxmikant passed away. Pyarelal has done varied work alone but seems to be bogged down by bad luck. RAAMLAXMAN: Raam passed away after a few Marathi films, Laxman maintained the name of Raam-Laxman, and later after making it big for a while in Hindi films Laxman removed the hyphen to remain as Raamlaxman. SAPAN-JAGMOHAN: Jagmohan passed away some years back. By this time the team had moved on to TV serials. High points: Chetna, Do Raha. SHIV-HARI: They did just a handful of Yash Chopra films (including Silsila, Chandni and Lamhe) and a Sahibaan, but after Darr they lost interest in films and returned to concentrate on their respective fortes - santoor and flute. SONIK-OMI: Sonik passed away some years ago, but the team had already tapered off its work. High points: Dil Ne Phir Yaad Kiya, Sawan Bhadon, Dharma. UTTAM SINGH-JAGDISH KHANNA: Though the team could not be successful despite Manoj Kumar's backing (Painter Babu, Clerk), it broke off only because of Jagdish's death. Uttam returned solo with Dil To Pagal Hai, but he too could not sustain despite Gadar - Ek Prem Katha and Pinjar.

teenindia_usa IF-Sizzlerz

Joined: 27 February 2005
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Posted: 26 May 2006 at 12:34am | IP Logged
good morning Ash, how are U , please visit preity mania too and post some pics

So have u seen any hr movies lately
HR ki sayyonni IF-Dazzler
HR ki sayyonni
HR ki sayyonni

Joined: 31 December 2005
Posts: 2689

Posted: 26 May 2006 at 12:37am | IP Logged

hey angei !!!!Big smile

i'm all fine r U ??

ya sure i'll be there @ PZ .Smile

no angei , i've not ne HR movie - my last 1 was 36 china town

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

Joined: 31 December 2005
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Posted: 26 May 2006 at 12:39am | IP Logged
Shall we dance?

   It was the night to dance to the tunes of DJ Vik from Mumbai at a city disc recently. He needed to be lauded for understanding the pulse of the hot-steppers. Why? Because he served them Himesh Reshammiya and his band of latest hits on a platter. Right from Soniye to Tere Sangh Ishq to Janabe Janiya to Humko Deewana — the party freak asked for it and Vik played it. Of course, there were also the latest hits-on-the block Ya Ali and Bure Bure, but it was Himesh who ruled the roost. As usual, the floor was jam-packed and if you are ever in the mood to do a research for latest moves, just check out the Kolkata night scene and you will learn loads of innovative moves.
Source: times of india news paper
teenindia_usa IF-Sizzlerz

Joined: 27 February 2005
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Posted: 26 May 2006 at 5:37am | IP Logged
Hi all again thans on articles here ash and on pics at PZ Smile

Guys we really rockin the place
teenindia_usa IF-Sizzlerz

Joined: 27 February 2005
Posts: 10569

Posted: 26 May 2006 at 5:46am | IP Logged
Phir Hera Pheri
Producer: Firoz Nadiadwala
Director: Neeraj Vora
Starring: Akshay Kumar, Sunil Shetty, Paresh Rawal, Bipasha Basu, Rimmi Sen, Johny Lever, Shakti Kapoor
Music: Himesh Reshammiya
Lyrics: Sameer
Singers: Himesh Reshammiya, Tulsi Kumar, Sonu Nigam, Shaan, Rakesh Upadhyay, Sunidhi Chauhan and Kunal Ganjawala
Audio On: T-Series
Number of Songs: 12
Released on: May 15, 2006
     Reviewed by: Gianysh Toolsee
Reviewer's Rating: 5 out of 10 Cumulative Rating: 7.54 out of 10
Rated by: 107 unique users
Enter your Rating:

Buy this Music CD now

While some of us are waiting for his next album, like if it's his last one, others simply don't care. Likewise, Himesh Reshammiya also doesn't care about them because he has already a fan base. And he is even singing for his fans! It is early to say that Himesh Reshammiya has arrived yet. Lately, his music has been the 'star' in most of his movies. Definitely, his popularity is increasing. Credit should also go to Akbar Sami, who has been professionally remixing all his songs. This sequel is hugely awaited. Paresh Rawal and Akshay Kumar have improved so much in comedy during the last six years. The original had music by Anu Malik and lyrics by Sameer.

'Mujhko Yaad Sataye Teri' has a hip hop atmosphere due to the distinctive singing and offbeat sounds. The 'mukhda' relies on a thin techno sound. Himesh's voice forms an integrating part of the tune. Low pitch and high pitch singing are fittingly balanced in the song. The Reshammiya effect has also smacked Sameer, as he is rapidly progressing with him. Sameer incorporates the title in the song as well. With an innovative chorus and a hip-hop background, the song settles as an average track. Those who have been complaining about his nasal voice, well, don't listen to this one. The first four words of the title is pronounced in an acute nasal rendition.

Remix by Akbar Sami ensures that 'Mujhko Yaad Sataye Teri' will at least be a hit, but not a rage. The hip hop strength is picked up by Sami, who throws beats at selected places, to transform it into another clubby dance track. The pace is increased and he is best at these remixes.

If you are still addicted to 'Jhalak Dikhlaja' and can't get enough, here's some good news. 'Ae Meri Zohrajabeen' has a solo Reshammiya singing a half baked 'Jhalak Dikhlaja'. Is he back in form or is his style back again? Himesh uses his favourite instrument; the solo violin, heavy percussions and a sexy female chorus to give the song a tonic. This ordinary tune will turn into a hit, simply because of the excellent rendition by Himesh. As the song progresses, it becomes predictable. Sami's trick with the remixing is pretty average this time.

When Himesh Reshammiya and Tulsi Kumar are credited, there is no surprise that there is a hit in the making. 'Dil Nayyiyo Maane Re' lives up to the expectations. Cooked in the same mould as 'Dil Tumhare Bina' from 36 China Town, the start is catchy and the tune is rhythmic. Himesh again influences the tune with a nearly perfect rendition of the word 'Ek Tere Siva'. Tulsi Kumar's voice sounds innocent and she executes with precision. The Reshammiya-Kumar duo gels well. Akbar knowing that he has a potential hit in his hands, goes another route in remixing. The echoing of the voices is the main scoring point. The mixture of the voices with the techno sounds are apart from what he has been doing.

Few would remember that trendy Himesh has composed in 2001, for the Govinda-Juhi starrer Aamdani Attanni Kharcha Rupaiya! 'Ta Thaiya Ta Thaiya' was one of these below average tracks. Back to his old style, Himesh comes with a number which has shades of the village masala songs mass composed in the 80's and early 90's. Remember Sangeeta Bijlani dancing in a village surrounded by hundred curious people watching her! 'Pyar Ki Chatni' is self explanatory now. As a situational number, it is no harm for the ears. Sunidhi Chauhan performs as requested. At least, she knows that she got the chance to sing such a song. The remix only comes to worsen the track.

Firoz Nadiadwala is in fact, one of the most loyal producers to support Anu Malik. For more than a decade, all his projects had popular music by him. Different scripts require specific types of music and sounds. Since Firoz Nadiadwala has been producing mainly comedy and action movies lately, music was not a highlight. Nevertheless, how can we forget 'Tera Chehra Na Dekhoun Agar' from Ram Shastra? The producer felt that the spicy Malik's music is clearly missing in this particular assignment. Call it coincidence or whatever, but the next two songs are very much Malik's hangovers.

Dil De Diya' has an electric and energetic performance of Sunidhi Chauhan and Kunal Ganjawala. The catchy lifted prelude gives the song a stale feel right from the first note sung by Sunidhi. The flow and delivery of the antra is strikingly reminiscent of the energy of past Anu Malik tracks in the late 90's. The most annoying part is that the 'borrowed prelude' is repeated so many times. And what is it with this stupid chorus chanting an unknown language? In short, a quickie! The remix is passable.

Let's term the next track as a fun and currency song in the typical Nadiadwala style! In the original Hera Pheri, Abhijeet, Hariharan and Vinod Rathod were singing 'Denewala', which was about raining money. In this one, Sonu Nigam, Shaan and Rakesh Upadhyaya are singing 'Phir Hera Pheri'. The theme and the rhythmic patterns of the songs are almost similar. Isn't it interesting to see how the same formula is used again? Shaan impresses with this dollar-euro-rouble-yen-rupaiya situational number while Sonu Nigam is lost somewhere in the chorus. Himesh borrows the classic notes of Ennio Morricone's 'The Good The Bad and The Ugly' as one of the interludes. No doubt, this is going to be a fun number! Music and arrangements follow his old style and beats are standard. Akbar goes over the board with this one and extend the rupaiya piece a bit longer making the track crazier but a mess for some!

The album is not instantly satisfying like his last albums. Most of the songs don't have this super hit edge. Though the album loses some steam at the end, Himesh who is in charge of the mike for the first three numbers, produces a different genre number and two formulaic hit songs. Is it fair to say that though he is being repetitive, his singing is improving? Being a comedy, there is little scope to explore music but this is only a barrier to produce a hit score. The bottom line is that Himesh delivers as the music director and singer. However, expectations are not met because he himself has set his standard high lately. Two songs match the Anu Malik style and it is intriguing. After kicking Anu Malik out from the camps of Abbas-Mustan, Subhash Ghai, Deepak Tijori and now Firoz Nadiadwala, is there more to invade?
teenindia_usa IF-Sizzlerz

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Posted: 26 May 2006 at 5:49am | IP Logged
Phir Hera Pheri - Music Review

Monday, May 15, 2006

Phir Hera PheriRamshastra, Kartoos, Hera Pheri, Awara Paagal Deewana, Aan - Men At Work and Deewane Huye Paagal - What's common between all these films? Producer Firoz Nadiadwala, who has always believed in giving his directors a larger than life canvas! What's the other common factor? Music director Anu Malik, who has more often than not given the kind of music that a Nadiadwala film warrants! But with 'Phir Hera Pheri', there is a slight shift in plan as composer Anu Malik is replaced by current numero-uno Himesh Reshammiya to come up with the film's music. No wonder, it doesn't come as a surprise to see as many as 3 tracks sung by Reshammiya himself as Akbar Sami churns out a remix for each of the 6 tracks in the film. Also, when there is Reshammiya, lyricist Sameer is bound to be the one doing all the writing and same happens in case of this 'Hera Pheri' sequel that stars the usual suspects Akshay Kumar, Suneil Shetty and Paresh Rawal along with Bipasha Basu and Rimmi Sen.

On you mark. Get. Set. And Go! Welcome Reshammiya who goes hip hop this time for 'Yaad Sataye Teri' and guess what, delivers in this genre as well! A smooth sailing number set at a decent pace, it gets your neck in motion as you hear a Reshammiya number for an umpteenth time in the course of your normal day. If you have loved Himesh compositions of last six months, you are certainly going to enjoy this one too. As expected, DJ Akbar Sami's added zing further spices up the song that moves at a much faster pace in its remix version and rocks the show in a big way. Not surprisingly, it turns out to be much more entertaining and makes this hip-hop number into a full fledged dance number. Enjoy!

Phir Hera Pheri Reshammiya singing 'Ae Meri Zohrajabeen'? Is that really possible? Well, don't rub your eyes in disbelief as that's what exactly happens when Sameer comes up with his own lines while keeping the opening words intact from the classic track in 'Waqt'. The song is rendered in a high pitch by Reshammiya as he composes this rhythmic dance track that has all it takes to be yet another hit for him. Musical arrangements are made of an excellent fusion of Western and Indian instruments that give an edge to this song that has potential to be popular. A spiced up number that makes you look forward to the high-on-energy remix by DJ Akbar Sami, one wonders why was this song not chosen over 'Mujhko Yaad Sataye Teri' for the kick start of the album's promotion?

Tulsi Kumar, who has already given a couple of hits with Reshammiya ['Mohabbat Ki' -Aksar, Title song - 'Humko Deewana Kar Gaye'] arrives with Reshammiya for the first duet of the album 'Dil Nayyiyo Maane Re'. Purists may have all the reasons to say that the song is in the same style as numerous other Reshammiya numbers but his fans certainly won't be complaining as he delivers exactly what he promises and what his fans expect! The song is in succession to the numerous love songs composed by him in 'Aashiq Banaya Aapne', 'Aksar' and 'Aap Ka Surroor' and 'Dil Nayyiyo Maane Re' continues to keep his flag high. Starting off with high pitch, for certain unexplained reasons, he suddenly knocks on the Bappi Lahiri territory at places, that makes you wonder if that was really required. Nevertheless, Tulsi Kumar, who gives good company to Reshammiya, can be rest assured that her work won't go unnoticed as the song is one of those kinds that should keep the music channels busy, both in the original and Sami's zingy remixed version!

Phir Hera Pheri Sonu Nigam, Shaan and Rakesh Upadhyay get together for the theme song 'Phir Hera Pheri' that it interspersed with the tinkling sound of coins. A fast paced fun song that is about the three prime protagonists in the film who lust after money and can do some 'hera pheri' again to get more of it, it is situational and should have some of its parts appearing as a part of film's background score or some critical junctures in the film. Also, expect a grand choreography for the song in true Nadiadwala style.

Anyone who follows English music would be able to relate to the beginning of 'Dil De Diya' where Sunidhi Chauhan's crooning is a clear lift from a popular western track. Kunal Ganjawala joins her in this love duet that has a melody of the mid/late 90s and in fact sounds more like a Anu Malik track than Himesh Reshammiya's. There is a bit of rap-n-reggae too [that is rather unnecessary] but overall the song still manages to pass muster. Both Kunal and Sunidhi sing in a high pitch here and it's their spirited rendering that helps the number go on smoothly, though there is nothing new in the song to talk home about. One factor that may not make the song noticeable if the choreography is done in a lavish and eye candy manner.

The title itself of Sunidhi Chauhan's 'Pyaar Ki Chatni' suggests to be made for the gallery as the opening shifts from a 'bhajan' setting to 'dhinchaak' beats a la the signature beats of Laxmikant Pyaarelal's '1 2 Ka 4' from 'Ram Lakhan'. A song that seems to be designed as a 'nautanki' number, it turns out to be exactly as one expected, i.e. aimed at a specific gentry. Watch out for the lyrical gems that go as:

"Dil Ke Pudine Ka Ras Tapka De, Thodi Si Chaahat Ki Mirchi Milade;
Madhoshiyon Ki Ilaychi Girake, Tu Narm Ungli Se Mujhko Chakhade'

A situational item song picturized on Dia Mirza, it can easily be given an easy skip and best forgotten once the album is over, be it in the original or the remixed version that has an overdose of the word 'chatni' interspersed throughout the song.

'Phir Hera Pheri' has 3 foot tapping numbers; all sung by Himesh Reshammiya ['Mujhko Yaad Sataye Teri', 'Ae Meri Zohrajabeen' and 'Dil Nayyiyo Maane Re'], a couple of average tracks ['Dil De Diya', title song] and an apology of a song 'Pyaar Ki Chatni'. If you have already become a Himesh Reshammiya worshipper by now, then the first three songs (along with their remixed versions by DJ Akbar Sami] should be good enough reasons for you to enjoy the album of 'Phir Hera Pheri' for a few weeks to come. But a super success like 'Aksar', 'Aap Ka Surroor', '36 China Town' or a 'Tom Dick and Harry' is ruled out.

Edited by teenindia_usa - 26 May 2006 at 6:08am
teenindia_usa IF-Sizzlerz

Joined: 27 February 2005
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Posted: 26 May 2006 at 5:51am | IP Logged
If anything I have repeated let me know and will edit it Jem okay...basically posting on phir hera phiri stuff luv the music that is why,,,,

Want to welcome all Members \

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