Details

Written by Kushal42

Category: Himesh - The Singer

Published: 27 October 2013

Hits: 11741

<<< this thread was created on 22nd August 2011 and already had an existing hit count of 400, but i accidentally reset it to 0 again by mistake when updating it on 21st May 2012, so whatever the count from now on is actually +400 in reality >>>

He is the 1st singer who can sing in 2 distinct styles and 2 unique voices which shows his versatility:

1.  Default Sufi Rwak (fulltu).

The sharper a singer's voice, the more it konnekts with the soul...awaaz jitni sharp ho, woh utni hi dil koh chooti hai...Himesh - the Sufi Rwak singer has one of the sharpest voices ever in Bollywood playback, and it causes a prick / pinch / striking sensation in particular high pitch range n notes...due to this, Himesh - the Sufi Rwak singer will be counted among the most legendary singers in Bollywood.

On the other hand, singers like Sonu Nigam n Udit Narayan have a smooth layered vocal texture, jaise ke awaaz bhar ke aati hai...n Atif Aslam has deep voice, jaise ke awaaz mein goonj aur ghehraayi hai.

But generally speaking, smooth or deep vocal texture cannot beat a sharp tonal quality, as far as the 'konnekt' factor is concerned.

2. New found Radio (self-composed restraint).

He can sing in all 3 ranges which makes him a complete singer:

High pitched

In Sufi Rwak voice

e.g. stanzas of Junoon from Rocky - The Rebel, Aashiquana Hai Dil from Aap Ka Suroor, and his line TUM at 0.45 to 0.46 in Ahista Ahista Title Track.

In new Radio voice

e.g. his line MERI JAA-AAAAN-NNNN (gradually rising soulful killer croon) from 1.09 to 1.18 & 1.50 to 1.58 from Hum Tum Train Ki from Damadamm and his line OO - OO from 0.45 to 0.48 & 1.03 to 1.05 in Mango from Damadamm.

Himesh has made use of a falsetto voice using his "new Radio vocals / singing style" in the following song portions:

His line, WOO OOOW (OFF-DA-HOOK high pitched) from 0.45 to 0.47, 1.03 to 1.05 & 1.33 to 1.35 in Mango from Damadamm.

His line, MERI JAA-AA-AA-AA-NNNN (killer soulfful croon) from 1.08 to 1.18 & 1.50 to 1.58 in Hum Tum Train Ki from Damadamm.

Middle Octave

In Sufi Rwak voice

e.g. Dekhu Tujhe Toh Pyaar Aaye from Apne, Lagi Lagi from Aksar, Kitne Armaan from Phir Hera Pheri.

In New Radio voice

e.g. Mann Ka Radio from Radio, Jaaneman from Radio, Kitna Pyaar Karte Hain from Banaras.

Lower Bazz Octave

In Sufi Rwak voice

e.g. his line PARCHIYAAN...TANHAIYAAN from 0.25 to 0.30 in Ahista Ahista Title Trax and his lines TUJHE YAAD KARKE MUJHE CHAIN AAYE MERE JAANIYA VE from 0.26 to 0.42 & 5.07 to 5.19 in Kola Laka Vellari from Welcome, and line AE NAZNEEN from 0.51 to 0.53 & 1.24 to 1.26 in Ameen from Red.

In New Radio voice

e.g. his line IRADA RIHAYI KA from 0.41 to 0.43 in Rafa Dafa Kiya Nahi Jaaye from Radio, his line OOOO from 2.23 to 2.25 in Piya Jaise Ladoo from Radio, his line HUM TUM TRAIN KI PATRIYON KI TARAAH from 0.27 to 0.46 in Hum Tum Train Ki from Damadamm.

And most importantly above all, he doesn't croon his lyric lines as a mere formality just for the sake of it, but rather indulges, interacts and connects with the listeners in terms of evoking responses from them by literally pouring his heart out and giving it his all. Woh apne gaano mein dil-o-jaan daal dete hain.

Usually when he sings during a live performance, he does wave like hand movements whilst singing. This is to match the notes of the songs and the twists-n-turns in it, whereby he is co-ordinating his hand movements with the notes in his mind and also taking the desired harkat (e.g. putting more or less emphasis) in a particular twist n turn.

Unki awaaz mein joh KASHISH hai, uska SUROOR unke fans ke sar char ke bolta hai.

Hence forth, as a result of this...the catch phrase to sum up Himesh - the singer is:

"joh awaaz dil se nikal ke rooh koh chu jaaye, woh awaaz Himesh Reshammiya ki hai...da man with a GOLDEN EVERGREEN voice"

Da proof / testimony to this fact is his line LEKIN JAB SE DIL GAYA from 10.24 to 10.28 & his line JAAN - AA - AA - AA from 12.14 to 12.20 in the below video:

The most SOULFUL croon of Himesh EVER is his line, MERI JAA-AAAAN-NNNN (gradually rising soulful killer croon) from 1.09 to 1.18 & 1.50 to 1.58 from HUM TUM TRAIN KI from DAMADAMM. This can be also evidenced in his same line JAAN - AA - AA - AA (gradually rising soulful killer croon) from 12.14 to 12.20 in the above video...yeh hai ROOH KI PUKAR which is straight from the bottom from his heart. Thats why the catch phrase to sum up Himesh - the singer is "JOH AWAAZ DIL SE NIKAL KE ROOH KOH CHU JAAYE WOH AWAAZ HIMESH RESHAMMIYA KI HAI".

Allegations of Tonal Change after supposed Nazal Surgery

Some people are allegating that in the recent past, Himesh's tonal quality and voice texture has changed. How has his voice and tone changed??!! Haven't really notice it as such, give me 2 songs...one old song with original tone/voice and one new song with changed tone/voice and i will try to compare the difference in between them...by what i understand, Himesh's voice/tone in songs like NAAM HAI TERA, TUM SAANSON MEIN was more CRISP and THIN whereby in some of his recent songs sometimes it sounds a bit SHARP and COARSE, but i believe this is mainly due to sound recording and mic equipment...e.g. his high pitch in Naam Hai Tera, Aashiqana Hai Dil doesn't sound harsh, but his high pitch in Chichora Piya sounds harsh...this is due to mic and voice recording equipment and locha in mixing.

Some people are saying that Himesh's tonal quality has changed after nazal or vocal chords surgery...well, there is no confirmed news about his surgery, and even if he did it...it was to get rid of nazal polyps which were a hindrance for breathing...he didn't do it to enhance or change his tonal quality, and this surgery is still unconfirmed...about his tonal quality changing, i feel it is a natural or gradual process for voice to change somewhat a little bit (just like the ageing process of a human being), and secondly...because he may be using different mic and voice recording equipment these days as opposed to Naam Hai Tera days, so the tonal quality can sound somewhat different.

Different Tonal Qualities

Listen to the tone of Himesh's vocals in Aap Ki Kashish (very different tone as compared to remaining songs in that era), then listen to his tone in his vocals in Naam Hai Tera and Tum Saanson Mein (very sharp knife edge with khanaak and kashish, one of his best ever tones in his playback singing), then listen to his tone in Teri Meri Dosti Ka Aasmaan from Radio and Rehnumaan from Sanam Teri Kasam (similar tones with khanaak). But now if people say that they want that same puraani tone which was in Tum Saanson Mein and Naam Hai Tera all the time, then how it is possible yaar...all his various tones are good in their own way.

Himesh is one of the most versatile singer in Bollywood playback because he has so many different diverse tonal ranges, tonal textures and tonal qualities...and how his tone is going to sound, depends upon the song, he feels the song and that tone comes naturally to justify the song's requirements e.g. different tone for Aashiq Banaya Aapne, different tone for Kitna Pyaar Karte Hain from Banaras, different tone for Aap Ki Khatir Title Trax, different tone for Rafa Dafa from Radio. That's why his songs can never get monotonous and listeners from other countries can't tell if it is same one singer who sang these songs without checking album credits. Most other singers have only one defined same tone.

Zee Cine Award

The female anchor pronounces Himesh's surname incorrectly at 0:06, Himesh gets overwhelmed with emotion whilst talking at 0:31 & 0:32...He walks towards the stage with confidence. As usual, he thanks God, Dad and Salman...along with Bhushan Kumar, producer, director and entire unit of ABA, and film industry. There seems to be a sense of vengeance of determination in his speech as if to prove his real mettle in the future.

Details

Written by Kushal42

Category: Himesh - The Singer

Published: 27 October 2013

Hits: 9736

One of the compositional trait of Himesh - the post ABA composer is prolonged twists n turns, whereby he croons a prolonged line and then caps it off with twists to add the finishing effect.

However, he also uses catchy short quick profound emphasis twists as an INTERMITTENT VARIATION in his composition notes to express that desperation feel factor, and these twists stand out in terms of the overall tune.

> His line, DIKHLAJA - AAA (terrific quick profound emphasis twist) from 2.01 to 2.02 in JHALAK DIKHLAJA from AKSAR.

> His line, RAATE-EEIN (terrific quick profound emphasis twist) from 2.22 to 2.23 in TERA SUROOR from AAP KA SUROOR. 

> His lines, MEIN - EEN (terrific quick profound emphasis twist) from 2.24 to 2.25, NAZRE-EEIN (terrific quick profound emphasis twist) from 3.55 to 3.56 in NAAM HAI TERA from AAP KA SUROOR.

> His line, BANAYA - AAA (terrific quick profound emphasis twist) from 0.59 to 1.00, 1.40 to 1.41, 1.50 to 1.52 & 5.32 to 5.33 in AASHIQ BANAYA AAPNE TITLE TRAX.

> His line, REHNA - AAA (terrific quick profound emphasis twist) from 0.38 to 0.40 in CHAHE GILA KARO from AAP KA SUROOR.

> His lines, AAAA (terrific quick profound emphasis twist) from 0.26 to 0.27, HAI AAI (terrific profound quick emphasis twist) from 4.24 to 4.25 in AHISTA AHISTA TITLE TRAX.

> His line, HAI - AAI (terrific quick profound emphasis twist) from 4.00 to 4.02 in ROCKY ROCK THE WORLD from ROCKY - THE REBEL.

> His line, TERA-AAA (terrific quick profound emphasis twist) from 0.51 to 0.52 in YAHI HOTA HAI PYAAR from NAMASTEY LONDON.

Details

Written by Kushal42

Category: Himesh - The Singer

Published: 27 October 2013

Hits: 11024

At times, Himesh croons certain lyrics whole heartedly with full / deep throated vocals with andhar ki gehrayi.

> TANHAAAAAAAAAA (HISTORY prolonged full / deep throated vocals) from 0.16 to 0.20 in DIL TUMHARE BINA from 36 CHINA TOWN.

> tan-HAAI-yaan (HISTORY full / deep throated vocals) from 0.59 to 1.00 in TANHAAIYAAN from AKS - THE MOVIEE.

> JAANE KAHAAN (HISTORY full / deep throated vocals) from 4.14 to end with an additional wheez in TERI MERI DOSTI KA AASMAAN from RADIO.

> KAHANI (HISTORY full / deep throated vocals) from 7.24 to 7.25, 7.41 to 7.42 & 8.08 to 8.09 in TERI MERI PREM KAHANI LIVE below

> KAHANI (HISTORY full / deep throated vocals) from 0.21 to 0.22, 0.37 to 0.38, 1.02 to 1.03, 1.54 to 1.56 in TERI MERI PREM KAHANI LIVE below

> TANHAAIY (HISTORY full / deep throated vocals) from 1.59 to 2.00 in MAIN JAHAAN RAHU LIVE

> DIN DAHARE (HISTORY full / deep throated vocals) from 3.18 to 3.19 in DESI BEATS REMIX (COMEDY CIRCUS KA NAYA DAUR - DIWALI SPECIAL).

> TANHA (TERRIFIC full / deep throated vocals) AAAYON from 2.23 to 2.24 in YAADAN TERIYAAN from DIL DIYA HAI.

Basically, it can be observed that this singing variation occurs whenever Himesh croons any lyric with the word HAA i.e. tan - HAA - iyaan in TANHAIYAAN, ab tan- HAAAAAA in DIL TUMHARE BINA, ka - HAA - ni in TERI MERI PREM KAHANI live and tan-HAAI in MAIN JAHAAN RAHU live.

Yet another variation of singing style by Himesh - the singer!

Details

Written by Kushal42

Category: Himesh - The Singer

Published: 27 October 2013

Hits: 9919

One of the traits of Himesh - the sufi rwak singer is to use ustad vocals that have a casual rawness (which was the hall mark of veteran sufi rwak legend Nusrat Fateh Ali Khan).

So while ustad himesh reshammiya has used such twists in various parts n portions in his sufi rwak songs, the following two twists are leaps n bounds ahead in terms of intense emphasis vocals that drive the listeners berserk (who are into serious sufi rwak music, understand its nuanses and catch its pulse).

> HAAAAAI (ustad emphasis twist) from 1.33 to 1.34 in AAP KI KASHISH from AASHIQ BANAYA AAPNE.

> HUEEEE (ustad emphasis twist) from 0.50 to 0.51 in AHISTA AHISTA TITLE TRAX.

Ustad, in the sense that, such sufi rwak nuances were pioneered by da legendary Nusrat Fateh Ali Khan which were reflected in his singing style and today's modern new-age Sufi Rwak singers like Himesh have carried this trend forward and kept his legacy alive.

> HO - OO - OO - OO (off-da-hook fulltu high pitch quick rising twist) from 1.20 to 1.21 & 1.58 to 2.00 give jazba to da point of being capable of driving da listener berserk, when heard in overall context of his associated lines in TERE SANG ISHQ from TOM DICK N HARRY.

Twists by Himesh that can 'shake up' da listener:

> REEEEE (profound quick emphasis twist) from 2.22 to 2.23 & 2.27 to 2.28 in DAMADJI from RADIO.

> AAAAAA (profound quick intense emphasis twist) from 3.43 to 3.44 in SANU GUZRA ZAMAANA, from 3.58 to 3.59 in SANU GUZRA ZAMAANA LOUNGE MIX from KAJRAARE.

Some other non Himesh male vocals (with no twists), that could have da potential to drive listeners berserk:

> Vineet's fulltu high-pitched croon WELCOMEEEEE followed by cult male classical vocal alaap from 5.14 to end in KOI TUMSE NAHI from DASHAVATAR.

> Arya's cult rap from 4.17 to 4.32 in DIL DIYA HAI from PHIR HERA PHERI.

> Male rap from 2.20 to 2.29 in SISAK SISAK KE from KARZZZZ.

> Agressive male vocals CHAMMIYA at 1.09 & 1.20 in CHAMMIYA from DULHAN HUM LE JAYENGE.

Moving on from the serious intense male vocals to a rather different light hearted mode of achieving the same intended result/conscequence, the following female seductive feel vocals can especially drive the male listeners berserk due to their naughtyness, mischieviousness and teasing nature (jiski wajah se basically dimag kharab ho jata hai):

> Naughty female croons that gradually grow on da listener (along with quick heavy drum hits) from 1.14 to 1.17 & 1.42 to 1.44 in GONNA FALL IN LOVE from TAARZAN - THE WONDER CAR.

> Sunithi's line, ROCK IT WOOH YEAH MOVE IT NOW from 0.52 to 0.56 in KAJRA KAJRA KAJRARE.

> Seductive feel female line, SA (in overall context of associated lines) at 3.31 in TUNE MERA CHAIN VAIN from ANTHONY KAUN HAI.

> Shalini Singh's sugar-coated seductive feel vocals, especially in her care free croons TA RA RA RA from 1.37 to 1.38 in HEY BLACK HO YA WHITE from DASAVATAR.

> Purbi Joshi's lines, LISTEN...NOT AT ALL...I TELL ALL in ZARA NAZRE MILAO UMRAO JAAN from DAMADAMM.

Himesh - the composer has also used loud female seductive sighs / exclamations / chills as seductive feel elements at times having a similar trend (that do not drive berserk):

> From 4.17 to 4.24 in TERI GALIYON SE from MAIN AISA HI HOON.

> At 0.11 in BELIBAAS from SILSILAY.

> From 0.59 to 1.01 & 1.07 to 1.09 in AHISTA AHISTA TITLE TRAX REMIX (this was actually da DJ's innovation in this case).