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 Namastey London
Director :
Music :
Lyrics :
Starring :
 Vipul Shah
 Himesh Reshammiya
 Javed Akhtar
 Akshay Kumar, Katrina Kaif, Upen Patel, Rishi Kapoor, Javed Sheikh (Pakistan), Ritesh Deshmukh

By Satyajit, Bollywood Trade News Network Send to Friend

Himesh Reshammiya, the musical mafia of Sufi pop resonates back his Midas touch after a hiatus of six plus months in a pack of 18 impressive soundtracks with added flair of sentimental poetry in the sensitive vocals of lyricist Javed Akhtar. The ambience of poetic excellence mellowed in syrupy romanticism and animated thump of “pub” culture makes promising news in Vipul Shah’s NAMASTEY LONDON.

The album experiments with poetic intellect of MEHFIL MIX, a new genre that epitomizes the sentiments through rendition in poetic phrases and verses. Reshammiya succeeds in revamping his Sufi pop style and imports the expertise of musical genius of Rahat Fateh Ali Khan and RDB (UK based rock group) to make this winning statement in musical fraternity.

Reshammiya’s nasal twang is at its supreme as it moves in tandem with serpentine flow of foot thumping funk and rhythm of disco music in rollicking “Chakna Chakna”. It has the hysterical burst but the pompous beat-pattern fail to be as infectious as that of “Jhoom Jhoom” or “Jhalak Dikhalaja” to promise a chartbuster of the year.

DJ Akbar Sami chills out with boisterously pitched “dhol” beats and frolicking traditional “bhangra” beats to make an occasion to remember in “Chakna Chakna (remix)”. Its complete knock out as it fires all cylinder to fire up floors, so shake a leg to beat the heat.

Shankar Ehsaan Loy composed “Tanhayee” (DIL CHAHTA HAI) proved great inspiration for “Tanhaiyyen” (AAP KA SURROR- THE MOVIEE) and the gloomy ambience of the sad and depressing moments shines back with same venom in “Veeraniyan”. Even the last Akshay-Katrina starrer HUMKO DEEWANA KAR GAYE has similar track “Bhula Denge Tumko” with good results and this proves to be another sentimental hit.

Javed Akhtar’s sensitive poetic rendition of romantic communion of lovers by referring to natural delights makes subtle prelude to impressively rendered “Veerraniyan (mehfil mix)”. It may surprise average listeners but the class listeners will treasure for its rich poetic contents.

It’s time to hit floors with bang after soul stirring “mehfil mix” as mood turns eclectic in loud and pompous “Veeraniyan (remix)”. It makes itself into cadre of finely paced Reshammiya remixes for the thumping rhythm patterns that works well for discos.

The soul stirring emotions of nostalgic romantic moments scintillates itself into mold of Sufi singing of versatile Rahat Fateh Ali Khan in painfully excruciating melodic work “Main Jahan Rahoon”. The number promises vocally euphoric moments of “Jiya Dhadak” (KALYUG) with able voice modulation in classical mode by Krishna as back up vocals.

If the soulful rendition makes heart beats then thought provoking poetry makes soulful cry credible and notable for aggrieved lover sentiments in impressive “Main Jahan Rahoon (mehfil mix)”. This can also be referred as “Ghazal” singing heard recently in Jagjit Singh latest album KOI BAAT CHALE. It works on slow musical tempo, classical music rendition and might restricts itself to class listeners.

Sufi pop rocks! It shows its brightest gloss as the pensive vocals of Rahat Fateh Ali Khan and Krishna melts into grove and impulse of disco beat fillers in vociferous “Main Jahan Rahoon (remix)”.




The subtle vocal mode of Himesh Reshammiya with shimmering paced rendition of Sunidhi Chauhan makes striking presence in impressive duet “Yehi Hota Hai Pyar”. The soft instrumental work of “Santoor” clubbed with “Sarangi-tabla” loop creates decorum for sensitively pitched soundtrack.

Poetry’s encapsulated in enchanting verses glorifies feminine grace in the prelude followed by striking natural delights as the conventional Sufi musical packaging sets the base for the “Yehi Hota Hai Pyar (mehfil mix)”. It forms brilliant “jugalbandi” between Reshammiya’s singing and Javed Akhtar’s poetic interpretation and predictably makes itself special for class listeners.

“Yehi Hota Pyar Hai (remix)” proves unwelcome guest after poetic affluent rendition of “Mehfil mix” version but makes itself into collection of finely tuned Akbar Sami’s composed remix works.

UK based “Bhangra” hits the deck with thump and makes noises in highly animated and emotionally uproarious rendition of RDB (UK based rock group) in “Rafta Rafta”. It picks up with Arabic musical pulse followed with sluggishly punched folk beats. It’s first major presentation where Reshammiya has imported foreign talents in their own flair and it promises musical feast for NRI’s listeners.

“Rafta Rafta (remix)” has jarring impact with loud rap rendition that proves ear-deafening but has the infectious impulse to shake booty on the floors.

Unbelievable to sound, the most melodious musical work comes from the vocal chords of upcoming musical talents Jayesh Gandhi and Akriti Kakkar in sensuously poised “Aanan Fannan”. Reshammiya packs it tight with rhythmic patterns of “Soniye” (AKSAR) and it even scores well on lyrical contents and vocal excellence.

The silent vibes that strikes flammable chemistry between lovers gets into bundle of refine poetry as Jayesh loud pitched vocals emotes out with grace in “Aanan Fannan (mehfil mix)”. It narrates well through megalomaniac poetic verses and sounds superior to original work.

Pub culture galore in conventional club mix mode as the beat-matching and DJ claps takes over the show in pulsating “Aanan Fannan (remix)”.

The svelte passion of Alisha Chinai sensuous singing bid farewell to the long and tiring musical proceeding in average soundtrack “Dilruba”. It traces back Reshammiya old fashion musical arrangements with Zubin Garg loud vocals making notable team work with Alisha’s vocals.

Reshammiya obstinately accommodates with “Dilruba (remix)” with routine club remix with minimum impact.

NAMASTEY LONDON welcomes back Reshammiya into musical arena with bang as he was written off by his detractors but traces back his dream run of successes. The disappointment gloomed in mediocre numbers of RED seems to have patched up well in the fun packed bonanza of NAMASTEY LONDON. The major highlight proves to be MEHFIL MIX that propels new methodology for poetic affluence in film music. It may be first big musical hit of the year and predictably will prove major thrust for its connoisseurs.

Innovatively brilliant!

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