Why do pop icon Himesh Reshammiya overexpose his singing credentials and prefers to be chronically recurring with his repetitive Sufi rock musical base and tonality? This major question may infuriate Reshammiya’s fans but it’s true that he continues to disappoint and frustrate them with his monotonous display of loud and jarring Sufi funk and pop. The musical genius is presumably showing ignorance towards his scurry of miserable performances of last few mediocre albums and continues to ignore the resurgence of innovative work in his musical exhibit. The harmonic sensibilities that this music megalomaniac showed in NAMASTEY LONDON seem to be completely evaporated with this album. The bad news is that he remains recalcitrant and redundant about his repetitive work and scores a pack of monotonous tracks in Subhash Ghai’s comical bonanza GOOD BOY BAD BOY. He packed loads of enthralling musical endeavors in his 36 CHINATOWN and had a decent score with SHAADI SE PEHLE but his third performance proved to be least acknowledged. Unfortunately none of the tracks scores anything gifted to be listed as chartbusters and proves too meager and scanty to compete with high-profile musical releases.
Himesh Reshammiya continues to lose his sheen and grip in bundling out credible title tracks and lands up with sub-standard display of Sufi funk and pop in deliriously mediocre GOOD BOY BAD BOY. Sameer’s pedestrian lyrics “Ek Jhappi Meri Yaar ki, Ek Jhappi Mere Pyar ki…” are mindlessly punctuated with Reshammiya’s superfluous Sufi funk. This time he exaggerates to plagiarize the enthused feel of Michael Jackson’s international hit “Bad” (album BAD) but disappoints completely with lackluster musical arrangements. Akriti Kakkar’s sensual vocal oomph delivers the needful in the seductive “alaaps” but falters to make it anything prize-winning. DJ Suketu anchors this title track appreciably and redeems some pride by punching out funky disco beat fillers with enthused hip-hop rendition to match its tonality in “Good Boy Bad Boy (remix)”.
‘Meri Awaargi’ brings out the racy outburst of sizzling disco station with serpentine flow of signature beats of “Zaara Jhoom Jhoom” (TOM DICK & HARRY) with loud and high tempo of Reshammiya’s vocals. The soundtrack delivers a hip-shaking thrust of energized dance floor but it has come too late in the offerings. It reminds some of Reshammiya’s fast paced tracks that transpired him as pop icon. Himani Kapoor’s husky female vocals prove too insipid and bland for ears and fail to enamor the feel of femininity in the track. DJ Suketu’s flashy mixing and DJ claps gives album it’s another credible number with feminine classical “alaaps” protruding out with eclectic poise in “Meri Awaargi (remix)”.
Reshammiya’s binge with Sufi rock base (“sarangi” with “tabla” loops) along with rollicking keyboard generated tunes maintains its top slot again and shows its smooth edges in above average “Aashiquana Aalam Hai”. The number has lyrical and musical shades of “Aashiquana Dil Hai” (album AAP KA SURROR) with relatively modest musical arrangements with limited appeal. Sunidhi Chauhan turns huskier (similar to Himani Kapoor’s vocal buzz) with brief moments of relief by melodious Alka Yagnik and almost inaudible Vinit. This may remind some of racy numbers of AAP KI KHATIR and DIL DIYA HAI but fails to boast anything spectacular in its offering. Its DJ A Myth this time in delivering a rollicking disco flavors with conventional “club mix” outburst in contemporary funky and trendy “Aashiquana Aalam Hai (remix)”.
“Dard-e-dil”- now this should not be disguised as the improvised mastered version of Mohammad Rafi’s immortal hit “Dard-e-dil” (Subhash Ghai’s KARZ), but a relatively loose inspiration from Pakistan’s singer Ali Zafar’s hit track “Masty” (Album – MASTY) with a concert show appeal. Reshammiya intelligibly chooses Zubin Garg to deliver the needful and rightfully the singer succeeds in captivating youthful buzz in its racy musical flow. Reshammiya has earlier adapted songs from traditional Pakistani Sufi singers like “Mar Jaawan” (originally sung by Pakistani singer Faakhir Mehmood) (AASHIQ BANAYA APNE) with upcoming singing talent (Abhijeet Sawant) singing it with success and this too has the zing to allure pop genre. Reshammiya’s typical nasal twang is all out with its loud outburst in its remix version with fine camouflaged impact of racy disco beats and DJ claps by DJ A Myth.
Himesh Reshammiya is expected to be big news this month with the release of his much-awaited big budget entertainer AAP KA SURROR – THE MOVIEE but things are going kaput for him after the mediocre musical results of GOOD BOY BAD BOY. The musical genius fails to materialize the buzz of NAMASTEY LONDON and seems to be losing steam with the tedious and recurring musical display. Even the hot “n” happening chemistry between him and Emraan Hashmi is fading to extinction and showing its rough edges in a bunch of stridently jarring and monotonously repetitive soundtracks.