milenge_small

Music Review Analysis of Himesh Reshammiya's Milenge Milenge - Rearranged version (2010).

Focus will be on the re-arranged music arrangement / orchestration as compared with the Original version, because the remaining elements were already analyzed in the Original version.

Milenge Milenge

Himesh replaces the original free flowing beats with a heavy thumping rhythmic beat pattern whose tempo is in sync with the vocals.

The abrupt entry of this beat at beginning of each stanzas from 1.59 & 3.05 onwards is effective stuff.

The soothing female chorus is replaced with a groovy sound from 2.16 to 2.23

The grand trumpet plays in between 1st & 2nd stanza from 2.48 to 2.58

The original version is better than the re-arranged version because:

> The heavy thumping rhythmic beat pattern is constant with no variations, thus getting little predictable and monotonous. For Punjabi HR fans, remember the Gidha Dholak beats used in Satsang? This beat pattern has a similar resemblance to it and this is where the beat backfires. There are no 2 ways about it, either the beat will be totally liked or totally disliked without a middle point.

> The soothing female chorus has more completeness effect as compared to the groovy sound.

> All intermittent instruments and beat effects are done away with thus removing the sahi desired effects, due to which the vocals sound raw and hollow in context of the underlying beat.

> Stage feel is replaced with a club feel (audience cheers are also done away with) which may affect the situational appeal of the song.

However, this song may find a place in discotheques.

Tum Chain Ho

The laidback HARD & SHARP beat pattern is replaced with a loungish beat skip pattern.

The likeable piano keys along with a continuous subtle groovy flute piece play from start to 0.22 & 1.09 to 1.19

The beat skip pattern is awesome from 0.23 to 0.37 along with intermittent elec piano keys that give a jingle chime effect.

The underlying beats along with vocals from 0.38 onwards is a free flowing affair whereby the pleasant nostalangic mood of the song is upheld.

Between mukhda & 1st stanza, an off-da-hook flute with a semi-plugged bazz sound from 1.19 to 1.26 is an ultra soothing and calming affair (hats off!). The elec piano that gives a jingle chime effect plays followed by a whoosh sound from 1.27 to 1.29

1st stanza

This is where the loungish beat scores because it enables Sonu's soothing feel vocals to take over precedence.

The subtle groovy flute from 1.37 to 1.39 and likeable piano flicks from 1.45 to 1.47 & 1.56 to 1.57 maintain the thehrav of proceedings.

A cutting edge techno instrument plays from 2.04 to 2.05

Between 1st & 2nd stanza, the semi-plugged bazz sound from 2.37 to 2.41 is effective stuff

2nd stanza

This is where the loungish beat scores because it enables Alka's vocals that make a melodious impact to take over precedence.

Alka's lines, FASLAAAAA (off-da-hook quick profound melodious low twist) from 2.43 to 2.44, KOOOOOOOO (off-da-hook quick profound melodious low twist) from 2.46 to 2.47, LAGIIIIIIII (off-da-hook quick profound melodious low twist) from 3.01 to 3.02, KHAMOSHIYAAAAAN (off-da-hook quick profound melodious low twist) from 3.04 to 3.05

The subtle groovy flute from 2.50 to 2.52, 3.08 to 3.10 & 3.15 to 3.18 and likeable piano flicks along with thumping beat effect with whoosh effect from 2.56 to 3.00 & 1.56 to 1.57 maintain the thehrav of proceedings.

Alka's line YAARA (melodious) from 3.23 to 3.24

The song ends with subtle groovy flute and likeable piano flicks along with semi-plugged beat skip effect from 4.00 to 4.09, followed by unplugged bazz sound and jingle chime courtesy of elec piano.

Original vs Re-arranged:

> Original has terrific raga tunes and HISTORY trumpet tune sur with emotional quotient in the stanzas.

> Original has an out-of-da-world starting with refreshing exotic feel courtesy of Jayesh Gandhi's vocals, off-da-hook new age / cutting edge synthesis effects in BOTH stanza gaps, pre-ABA feel good guitar riffs and it out scores the re-arranged version in terms of intermittent beat effects that give sahi desired effect.

> The Re-arranged scores in totality whereby the nostalangic mood of the song is upheld courtesy due to beat skip effect that allows the vocals to dominate, and pleasantly likeable piano flicks, subtle groovy flute and jingle chime effect that enhance the loungish feel.

The listener feels the original version with emotional quotient whereas the listener enjoys the re-arranged version with a pleasant outing. Both are equally good in their own ways.

My personal pick is the original version by a narrow margin, but both versions are winners!

Ishq Ki Gali

The song begins with a majestic chime effect followed by feel good guitar riffs and raga tune.

The traditional laidback drum skips kick in from 0.12 onwards.

The likeable intermittent piano keys along with jingle effect from 0.17 to 0.22 are of great cause.

The semi-plugged beat skip joins in from from 0.37 onwards maintain the subtle laidback feel.

The profound glass break sound effect at 0.43 & 0.45 is effective.

The song picks in on tempo from 1.31 onwards when the underlying beats from original version (that are also retained) kick in to form an overall innovative mix with the re-arranged beats.

Between mukhda & 1st stanza, a jingle effect plays followed by a gentle whooshing techno sound from 1.53 to 1.54

1st stanza

The rearranged beats consist of subtle laidback drum skips and intermittent profound glass break sound effect.

The song picks in on tempo from 2.33 onwards when the underlying beats from original version (that are also retained) kick in to form an overall innovative mix with the re-arranged beats.

Between 1st & 2nd stanza, things take a quawalli turn from 3.04 to 3.26 with a quick harmonium piece that plays along with fast-paced tabla beat effect followed by intermittent claps whose frequency increases during the latter part. The raga tune plays along with subtle piano keys and underlying laidback traditional drum skips from 3.27 to 3.36

2nd stanza

The underlying beats from original version are retained with an add on in form of intermittent profound glass break sound effect, which is quite effective in between 4.02 to 4.11

The gentle whooshing techno sound from 5.15 to 5.19

A continuous refreshing majestic sound joins in from 5.39 onwards to give a mercury like feeling as if the listener is in an unknown planet whereby red hot lava is flowing.

Himesh doesn't scrap the original orchestration altoghther but decides to retain and synthesize it beautifully in parts with the re-arranged orchestration to have a good dose of both worlds.

The maximum impact in re-arranged version is due to profound intermittent glass break sound effect throughout the song.

The re-arranged version has a strong commercial appeal that goes hand in hand with todays changing times and trends.

The original version has a strong uptown feel whereby it could easily slip into albums like TERE NAAM and NANHE JAISELMER, both which have a strong traditional outdoor backdrop.

Hare Kanch Ki Chuddiyan

Alka's lines YEH (awesome halke se feel twist) from 0.10 to 0.11, HO GAYI SHAAM (awesome halke se feel twist) from 0.26 to 0.29 is very typical of HR the pre-ABA composer.

Alka's lines CHUDIYAAN - AAAN (profound twist) from 0.18 to 0.19 is similar to the line MILNA - NAAA (profound twist) from 0.24 to 0.25 in TERA MERA MILNA from AKS - THE MOVIEE.

Himesh adds an additional rhythmic beat with clap effect from 0.37 onwards.

This heavy rhythmic beat that hits it SHARP makes a full impact from 1.08 to 1.17 and from 1.33 onwards.

Between mukhda & 1st stanza, a peppy bright band baaja piece plays along with the heavy rhythmic beat.

1st stanza

The heavy beat that hits it SHARP is in rhythmic sync with Alka's vocals from 3.17 to 3.26

Between 1st & 2nd stanza, the heavy rhythmic beat is in full form.

2nd stanza

The heavy beat that hits it SHARP is in rhythmic sync with Alka's vocals from 4.39 to 4.49

Alka's innocently melodious vocals on a Himesh-Sameer celebration number are a goatish affair [fun intended], goats are innocent right?

This song reminds the listener of the pre-ABA Himesh-Sameer association of celebration / wedding songs having good dose of Mehndi, Chudi, Bindi, Payal, Singar & Kangna.

Original vs Rearranged?

Rearranged version is better because of the additional heavy rhythmic beat pattern that:

> Enhances the song's tempo which in turn gives some foot tapping kick to listener.

> Helps level out the gap of scale of instruments and sur of Alka's vocals (something that was present in the original version).

Verdict

From the Re-arranged songs:

1. Tum Chain Ho.

2. Ishq Ki Gali.

3. Hare Kaanch Ki Chuddiyan.

4. Milenge Milenge version 1.

Original vs Rearranged:

Both Tum Chain Ho Original and Re-arranged are even stevens (I personally go for Original though).

Ishq Ki Gali Original and Re-arranged are even stevens.

Hare Kanch Ki Chudiyaan Rearranged is better than the Original.

Milenge Milenge version 1 Original is way better than Rearranged.

Joomla! Debug Console