Music review analysis of Himesh Reshammiya's album Fool N Final (2007).

Tere Layee

DJ Himesh Reshammiya comes to the party and rolls this one in the RnB section of the nightclub.

He experiments with the instruments this time to create a hip hop number.

The tune in terms of melody is fairly mediocre because the focus is totally on the rhythm aspect.

The song starts of with Arya's RAP.

Just note the build up.

From 0.08 to 0.36, the rebellious mouth piece beats along with the underlying beats are great, rapper croons BAZZ, and bazz sound hits, rapper croons drums and by this time the whole underlying beat is RWAKING.

This is awesome build up.

From 0.37 to 0.52 & 1.52 to 1.58 Kunals UUUUUUU is very soothing and the loud whispers enhance the overall effect.

At 0.59, the heavy drum 1 hit is awesome.

The line, ISHQ NIBHAVAN, is very much trademark HR composition style

The CD spin 4 times at 1.21 & 1.43 is of great cause to enhance the RnB feel.

At 1.28, 2 beats followed by 4 quick additional beats give sahi desired effect.

Between mukhda & 1st stanza, a heavy DRUM beat hits just once (awesome) at 1.59, followed AFRICAN female vocals AAIIYAYAYAYAA (great). From 2.03 to 2.05, new age wicked synthetic instrument plays with a wheezing sound followed by CD spins.

1st stanza

Feel good vocals on a feel good tune pattern.

At 2.20 & 2.58, 2 beats followed by 3 additional quick beats give sahi desired effect.

Between 1st & 2nd stanza, OFF-DA-HOOK stuff happens from 3.19 to 3.43. The female croons from 3.19 to 3.24 in unplugged mode gives a groovy feel. The wicked new age synthetic wheezing instrument plays from 3.25 to 3.28 followed by a heavy drum hit. A catchy cult tune that builds SIKE plays from 3.28 to 3.35 in semi-plugged mode is the build up part and by the time the RWAKING beat pattern kicks in and delivers the KILL EFFECT from 3.36 to 3.43, along with rapper croons SHAKE THAT BOOTY (yeah mate, that is what galz do in da nytclub) followed by a cunning laugh, the listener is TOTALLY FEELING IT and imagines himself dancing with FULLTU ATTITUDE.

2nd stanza

Feel good vocals on a feel good tune pattern.

From 4.13 to 4.18, the UUUUUU along with underlying beats is just rwaking.

The beat effect from 1.28 to 1.29, 2.20 to 2.21, 3.49 to 3.50, 4.19 to 4.20 & 4.41 to 4.42 is similar to the beat effect from 1.53 to 1.55, 2.25 to 2.27, 3.01 to 3.03, 3.40 to 3.41, 4.20 to 4.21 & 4.30 to 4.31 in DIL LAGAYENGE from SHAKA LAKA BOOM BOOM in terms of creating the OVERALL EFFECT.

Highlights of this song:

1. The build up between 1st & 2nd stanza is the BEST part of this song.

2. The underlying RWAKING hip hop beats along with Kunal's soothing UUUUUUUU.

3. The RAP by Arya wherever mentioned above.

4. New age synthetic instruments, additional/heavy drum 1 hit and 4 tyme CD spin.

This song relies fully on rhythm, so hear it out to check out the beats/instruments and the rap (only wherever mentioned above) and shake a leg may be.

This is a song of downtown youngsters who love writing graffity on walls, wear long casual basketball T-shirts & 3/4s, love to do spinarooneys on da ground and roam around with roller skates lookin for trouble along da way.

It's about the CASUAL NO MESS ATTITUDE factor!

Yeh Dooriyaan

Hanif Sheikh's vocals WOOOO OOOO WWWWOOOOO are great from start to 0.29

The beat effect at 0.29 is great.

From 0.29 to 2.37, the keys that hit in the beats are great.

Fromn 0.30 onwards, the CLAP EFFECT in the underlying beat is great.

The SHAKIRA and HERE WE GO NOW rap is cool.

At 2.55, the 3 additional beats.

Hanif's lines, yeh dooriYA (SUDDEN HIGHEST NOTE) AAAAN (desperation) is the best melody.

From 1.12 to 1.20 & 1.38 to 1.46, badla sa hai zamanna khamoshiyaan bhi hai gumshuda are from pritam's stable and the metal rock guitar behind these feel good lines is great.

The 4 additional beats at 1.20 & 1.46 are great.

From 1.47 to 1.55, WWWOOO OOO (TERRIFIC) is very penetrating, especially at 1.48

Between mukhda and 1st stanza, from 1.56 to 2.12, more heavy rock metal guitar pattern follows. A groovy tune pattern plays from 2.12 to 2.20

1st stanza

Feel good tune sung with feel good vocals.

From 2.55 to 3.04, the lower pitch NA NA NA NA NA (feel) is mesmerizing along with rap vocals behind.

From 3.04, the rap HERE WE GO NOW behind shakira ve is cool.

2nd stanza

Feel good tune sung with feel good vocals.

At 3.38, 4 additional beats are great.

From 3.39 to 3.46, the unplugged part with only the tune keys hitting is great, after which the beat kicks in.

From 4.04 to end, the WWWOOOWW is awesome, especially when the lines SHAKIRA VE join in, to create a great overall effect.

Highlights of this song:

1. Hanif's high pitched vocals especially on lines WOOOW UOOOOU and YEH DOORIYAN

2. The heavy bazz metal rock guitar.

3. Additional beats, beat effect.

4. The male rapper crooning SHAKIRA VE, HERE WE GO NOW.

This is a song that HR could have sung himself as it is high-pitched but he gave chance to the new-find Hanif Shiekh.

This is a cool hip hop number and the BEST in the album.

Ek Kalsa

The song starts with rain effect followed by thunderstorm effect.

The bazz trumpet plays on the theme piece tune from 0.10 onwards.

A techno instrument kicks in from 0.20 onwards followed by male rap croons.

An engine roar followed by brake skid effect from 0.27 to 0.31

The main beats kick in from 0.31 onwards and they are laidback yet with fulltu attitude.

A feel good string tune pattern plays from 0.41 to 0.51

The Arabic sound at 0.57, 1.02, 1.07 & 1.12 give complete effect to mukhda lines.

The lyrics on mukhda tag lines from 0.52 to 1.22, 2.06 to 2.15 are senseless unless they depict to mean saath janam.

The 4 CD spin effect from 1.22 to 1.23, 1.51 to 1.52 is great.

The rest of lines have simple tune and pedestrian lyrics.

Between mukhda and 1st stanza, the feel good string tune pattern plays followed bazz trumpet and car roar.

1st stanza

The vocals are laidback on a simple ordinary tune.

Between 1st and 2nd stanza, a wicked rebel siren tune tune plays along with techno sound and male croons with attitude followed by car roar.

2nd stanza

The vocals are laidback on a simple ordinary tune.

The song ends with an extended techno sound piece.

Highlights of this song:

1. The orchestration (cult attempt) comprising of laidback beats, CD spin effect, bazz trumpet, techno sound, Arabic sound, engine roar with brake effect and rap.

This song continues the trend of the Album that focuses more on RHYTM more than MELODY as HR attempts to do something wicked and off-da-hook cult stuff, albeit with average results.

While the listener does not mind the music arrangement, he appreciates that the tune and vocals do not do justice to the huge expectations and the overall reputation of HR – the composer/singer and lyrics also play as spoilsport.


This is NACHLE ITS FOLKISH VERSION 2 in terms of energy level and music arrangement but the difference is that firstly it is not a Folkish but rather a Punjabi version and secondly it is less superior in melody.

The opening instrument tune until in unplugged mode was also used in beginning unplugged mode of NACHLE ITS FOLKISH from AAP KA SUROOR.

The likeably pleasant flute piece from 0.07 to 0.32 is likeable.

The skip in the dhol at 1.01, 1.04, 1.08, 1.11, 1.40, 1.44 & 1.47 is likeable.

The fast drum-doll beats from 1.24 to 1.25 & 2.00 to 2.01 give sahi desired effect.

The added Punjabi vocals are effective.

Between mukhda & 1st stanza, the likeably pleasant flute piece returns along with drum skips followed by vibrant energetic Punjabi vocals (also used in NACHLE ITS FOLKISH) and traditional Punjabi folk tune.

1st stanza

The dhol beat pattern at 2.31 is off-da-hook.

HR's lines with a profound MIDDLE OCTAVE impact from 2.41 to 2.47 connect in a surprisingly depressing way.

Between 1st & 2nd stanza, behind the male vocals and lovely flute, the DHOL PATTERN is JUST OFF-DA-HOOK and BEST part of the song as it gives sahi desired effect.

2nd stanza

The OFF-DA-HOOK drum pattern continues behind HR's slogan type lines CHUPTA NAHI & RUKTA NAHI that have a similar feel of the MIDDLE OCTAVE slogan type lines IS KADAR at 3.43 & KOI NAZAR at 3.47 in DEHKU TUMHE TO PYAR AAYE from APNE.

HR's lines with a profound MIDDLE OCTAVE impact from 4.10 to 4.16 connect in a surprisingly depressing way.

Highlights of this song:

1. OFF-DA-HOOK dhol beat wherever mentioned, drum skip beat, and fast drum-roll beat.

2. Pleasant flute and energetic Punjabi vocals.

3. HR's MIDDLE OCTAVE (slogan) effect.

This is an ordinary composition, but it still has some parts that are interesting.

Hear this song mainly for the OFF-DA-HOOK dhol beat pattern from 3.26 to 4.00!

My Picks

From Himesh's "sung n composed" songs:

1. Sigdi.

2. Ek Kalsa.

From Himesh's "composed only" songs:

1. Yeh Dooriyaan (Shakira Ve).

2. Tere Layee.