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Music Review : Damadamm

Director :
Music :
Lyrics :

Starring :
 Swapna Waghmare
 Himesh Reshammiya
 Shabbir Ahmed, Sameer and Himesh Reshammiya
 Himesh Reshammiya, Sonal Sehgal, Purbi Joshi and Rajesh Khattar

By Satyajit, Glamsham Editorial Send to Friend

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Himesh Reshammiya is back and now he is laughing...! Comical bug has finally hit the composer-turned-actor who is now hoping for a big resurrection in a comic caper titled DAMADAMM! He had a terrific opening to his acting career with AAP KA SURROR-THE MOVIE (2007), but later the picture turned dim and gloomy for him with consecutive big flops (KARZZZ -2008, RADIO-2009 and KAJRARE-2010). Riding high on comical waves, he is now all set for his next release that promises to be a laugh riot with an album that is loaded with fifteen soundtracks. Furthermore, it has the ground support of experienced campaigners like Sameer and Shabbir Ahmed as lyricists that have been a winning factor for him in his lucky phase. Can they together pull up a surprise winner? Fresh from the recent musical success of BODYGUARD, it will really be interesting to hear Himesh Reshammiya back as a composer and also as a singer in this album. Does DAMADAMM have sufficient dum to rejuvenate back Himesh to top slot again in music world? Let's feel the dum of DAMADAMM...!!!

Dum Mast Kalandar...once again! The flare of Sufiana music in Bollywood erupted with popular number 'Dum Mast Kalandar' and almost every big name in music industry sang their version. Himesh Reshammiya's singing spree started off with bang with Sufi-rock (AASHIQ BANAYA AAPNE) and to resurrect back, he fights back with venom with the title track 'Damadamm'. It kick-starts off with a typical qawalli disco binge, picks up with customary instrumentals and later its contemporary Himesh's Sufi funk that takes over the proceedings. Catchiness in Sufi qawalli flows is infectious, as the song works more like a frolicsome 'item-number'. To match with Himesh's uproarious nasal twang, there is range of singers in the form of Vineet Singh, Alam Gir Khan, Palak Muchhal, Shabab Sabri, Sabina Shaikh, Rubina Shaikh and Punnu Brar, varying their voices with changing tempo of the track. This title track adds more shade and choice for listeners who earlier have relished this traditional Sufiana number. Overall an above-average number that is likely to have big takers among Himesh's fans. 'Damadamm (remix)' pulsates and aggravates senses with sluggishly paced tempo that mixes all voices with likable DJ antics, a worthy promotional number that should work.

Funny, silly or irritating!!! Himesh Reshammiya enters comical zone for the first time, as predictable the flick is likely to have sufficient ammunition to tickle the funny bone and it arrives garishly in 'Umrao Jaan'. The song caricatures out in hilarious tones with all the three lead actors voicing out it in it. It can be presumed to be musical satire on 'Kajra re' (BUNTY AUR BABLI) and couple of more item-numbers, where song flourishes out in club-dancing moods with host of funny attendants. Himesh sings it in his peculiar nasal twang but its actress Purbi Joshi's recurring rendition of one-liners ('No touching- No kissing- Only seeing...') in Chinese accent that takes the major spotlight in the song. It's repetitive, screechy and to large extent irritating to ears, an endeavor that sounds too silly but its disco binge that works to entertain. For its intrinsically funky beats and loud bhangra beats, it's "remix version" sounds better and can be utilized potentially to create positive word-of-mouth for this funny comical caper.

'Aaja Ve', a soft sentimental romantic number is a big respite. It brings back the old quintessential Himesh Reshammiya back in his soft grooves with an added 'lounge' musical impact. As far as composition and arrangements, it's really upbeat and has the desired emotional verve in those delectably pitched rhythms coupled with echoing chorals that gel well with Himesh likable voice. The track brings back memories of couple of previous Himesh's sentimental hits and should be striking feature in lifting up glam-quotient of the flick. 'Aaja Ve' (remix) accentuate the mushy romantic feel with its added lighthearted disco-beat fillers, extra synchronized violin notes and electronically tuned synth beats. A well crafted remix to suit the desired tender romantic mood.

Hilarity mood takes another big wave of happenings, as now Himesh takes a big U-turn into bygone era to emote out his romantic feeling in satirically sounding 'Madhushala'. Comedy is indeed a serious business now but still Himesh tries hard in changing his accent and diction (similar to 'Isq Risk' -MERE BROTHER KI DULHAN) with varying pitches to match the need of the situation. In the prelude, its silken Aditi Singh's beautiful English rendition that raises the expectation quotient but later it's a complete Himesh singing show. The middle interludes try to impersonate the signature tuneful impact of 'Tu Mera Chand, Main Teri Chandni' (DILLAGI -1949), somewhat similar to 'Aage Peeche' (GOLMAAL-FUN UNLIMITED -2007) but the humorous buzz sounds average To raise the humor quotient and creating positive mouth of word for flick as a worthy comical show, this soundtrack has its two different remixes in the album. 'Madhushala (remix)' has vibrant bhangra dhol beat patterns to entertain that works energetically to shake booty on floors, a sensuous female rendition of Aditi Singh adds to the fun, works better than the original version. 'Madhushala (House Mix)' has the international "club house remix" impacts with extra sensuous feminine chorals and accelerating beat-juggles to collage well with enthused voices, another good remix version that promises entertainment for its listeners.

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view DAMADAMM poster
In the year 2009, Himesh showed his fondness for classical westernized rock music with couple of impressive sounding tracks like 'Rafa Dafa Kiya', 'Jaaneman' and 'Teri Meri Dosti' (RADIO) but the end results were not as promising as expected. The next offering 'Yun Toh Mere Dil', a tender paced soft rock ballad falls into this cadre and brings out a different Himesh Reshammiya to the forefront. It's idealistically romantic and is beautifully synchronized in soft rock arrangements and should have positive response from urbane sect of listeners. Sadhana Sargam's brief rendition in shrill pace adds to the romantic vows but it's the improvised Himesh's singing that impresses the most, overall a pleasing listening experience that adds to the love-chemistry in the flick.

Revisiting RADIO musical spree; it was the semi-classical work 'Piya Jaise Ladoo' that got rave reviews and also manage to get itself placed in the chartbuster list. 'Hum Tum', a semi-classical sentimental mushy number falls in this category that talks of optimism in a love relationship. It initiates with brilliantly rendered classical alaaps by Vaishali Mhade (Sa Re Ga Ma Pa winner 2009) and sets a melodic decorum for a classical offering. Himesh's soft and tender tones are soothing to the core and gets along well with nimble-paced arrangements to deliver out a pleasing romantic track. Vaishali's classical singing at intermittent places is the highlight of the track where composer scores brawny points for scoring out a congenial fusion composition.

Revitalizing to the soft mushy romantic ambience, the finest from Himesh's romantic hue comes in lovable melody titled 'Tere Bina'. The soundtrack has beautiful amalgam of feather-touched instrumentals and Himesh's soft-throated vocals and together they sets up a soothing ambience for listening. Sameer's 'easy-on-ears' lyrics are amiable with the situation and give it an over-sappy support in making this as the finest effort from the composer in this album.

Fiery hard-rock makes its violent impact as the gears changes completely to aggression and belligerence of expressions in hot-headed 'I Need my space'. It works like a mindset or monologue from the protagonist who dares and desires for freedom. Nothing innovative or spectacular in composition, Himesh traces back to archetypical 70's hard-rock ethics and delivers out a decent outing with experimentation with his voice and singing style.

After Imitiaz Ali's philosophical take on mangoes as 'mango-people' (aam-aadmi) in LOVE AAJ KAL, it's now lyricist Sameer turn to make thoughtful inferences and comparisons of love with mangoes (referred to as seasonal fruit) in the average sounding 'Mango'. Aditi Singh's westernized crooner rendition in modulating tones is the biggest highlight that gives it a true urbane outlook. Like 'Tere Bina' and 'Hum Tum', Himesh softens his vocal chords to perfection in serenading but the lyrics sounds too outlandish at places. It's a fairly good attempt at exploring a new genre in the album but the outcome is purely mediocre.

The last outing is a breed apart as this one has a different singer in the form of Sachin Gupta in the promotional track titled 'Bhool Jaun'. It has Himesh as co-singer and protrudes out largely as Indi-pop stylized soft-rock ballad. Overall a decent 'hear' but again no great shakes to offer.

DAMADAMM is a multifaceted Himesh Reshammiya album that comes in varied shades, genres and styles. Despite the fact that it is packed heavily with fifteen soundtracks, it lacks the punch and dum of his earlier albums. The spotlight will be primarily on tracks like Damadamm, Umrao Jaan, Aaja Ve, Yun to mera dil and Tere Bina but they won't be as big hits as Himesh's previous hit soundtracks. After the cold response to KAJRARE and RADIO, the mediocre phase continues for Himesh Reshammiya (with BODYGUARD the only saving grace), but still a positive box-office outcome can change the entire equation.

Rating - 3/5

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