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Music review analysis of Himesh Reshammiya's album Milenge Milenge (2010) - Original version that is on Bollywoodhungama http://www.bollywoodhungama.com/movies/audiolisting/7301/index.html ,not the musically re-arranged version of album which is available from your local music stores.

Kuch Toh Baaki Hai

Himesh goes out of his way and breaks his self imposed policy decision to compensate Boney Kapoor for Tanhaiyaan which he used for his own debut flick.

The song begins with Himesh's middle octave lines along with semi-classical male croons.

Himesh's lines, KUCH TOH BAAKI HAI * 2 are well structured core mukhda tag lines.

The tune of his line KUCH TOH BAAKI HAI from 0.04 to 0.07 & 1.05 to 1.09 is similar to tune of line DIL TUMHARE BINA from 1.07 to 1.10 in 36 CHINA TOWN.

From 0.08 to 0.24, the well structured catchy harmonium theme piece which is USP of song (terrific semi-classical instrument selection with special mention of tonal quality) along with semi-plugged beat and later joined by semi-classical male croons builds up the song tremendously.

The harmonium flick to catch the initial scale from 0.20 to 0.21 is terrific.

The laidback free-flowing beat kicks in from 0.24 onwards.

Himesh's line SAB KHATM HO KAR BHI-IIII from 0.25 to 0.30 & 0.52 to 0.57 has desperation plea vocals that depicts a sense of helplessness.

His lines, DARMIYAAN (abrupt emphasis slogan leave with echo effect) from 0.32 to 0.34 & 0.59 to 1.01, HAI-AAAI (emphasis twist gives KICK) from 0.37 to 0.38 & 1.04 to 1.05

From 0.34 to 0.42, the core muhkda tag lines are in full form.

Himesh's line, HAAAAI (gradual voice deepening) from 0.41 to 0.42 is similar to his line ZARA-AAAA (gradual voice deepening) from 1.19 to 1.20 in MANN KA RADIO from RADIO.

From 0.43 to 0.52 & 1.21 to 1.29, by the time the harmonium theme piece with semi-classical male croons plays in sync along with off-da-hook profound heavy tabla skip pattern (that reminds of tabla pattern albeit with a slower tempo from 1.42 onwards in DAMADJI from RADIO) the foot tapping rhythm catches the semi-classical pulse of the listener at 1.11, 1.13, 1.15 & 1.17 and this is where himesh scores!

The intermittent raga tune from 1.00 to 1.01 & 1.19 to 1.20 is of great cause.

The quick pounding heavy drum hits from 1.19 to 1.20, 2.05 to 2.06, 3.14 to 3.15 & 3.29 to 3.30 are of great cause.

Himesh's line, KASAK AASI (awesome high-pitched passionate emphasis) from 1.11 to 1.12 reminds of the line SAARE RASTE HAIN from 2.18 to 2.20, SEENE MEIN JAISE from 4.14 to 4.16 in VIRAANIYA from NAMASTE LONDON.

Himesh pours his heart out from 1.13 to 1.19, with emphasis on DIL ME-EEEEEEN (terrific prolonged desperation emphasis twist), BAAKI (halke se desperation emphasis feel), HAI-AAAI (awesome profound abrupt emphasis twist gives KICK) from 1.18 to 1.19 which is the FIRST BEST part of the song.

1st stanza

From 1.29 to 1.37 & 1.46 to 1.53, it is a new singing attempt by Himesh who sings with middle octave vocals in a restrained mode with an optimistic feel.

The feel good guitar riffs from 1.32 to 1.33 & 1.49 to 1.50 and harmonium theme piece with semi-classical male croons from 1.38 to 1.46 are of great cause.

The profound heavy semi-classical male croons TA from 1.45 to 1.46 hold listener's semi-classical pulse.

The continuous subtle metal guitar guitar kicks in from 1.46 to 1.53

Himesh's lines from 1.54 to 2.02 have high pitched forceful emphasis singing, with emphasis in line KO - OO -OO - OO (4 step gradually descending notes) from 2.02 to 2.04

The heavy semi-classical male croons DHUM from 2.10 to 2.11 is a perfect substitute for a heavy drum beat (awesome innovation this).

Himesh's line, DARMIYAAN (arrogant feel vocals with abrupt sufi-rwak finishing leave effect) from 2.13 to 2.14 & 3.21 to 3.22

Between 1st & 2nd stanza, a well structured raga tune piece plays in semi-plugged mode followed by Jayesh's catchy alaap along with quick profound rhythmic tabla beat pattern. The male classical croons between 2.22 & 2.28 is semi-classical CULT stuff.

2nd stanza

From 2.38 to 2.46 & 2.55 to 3.02, it is a new singing attempt by Himesh who sings with middle octave vocals in a restrained mode with an optimistic feel.

The feel good guitar riffs from 2.41 to 2.42 & 2.58 to 2.59 is of good cause.

The listener feels it and sways in extacy with the semi-classical male croons from 2.46 to 2.55 which is CULT stuff and it takes serious ballz for a composer to experiment such an innovative mix and pull it off successfully with terrific results. The last time he experimented with such rhythmic vocals was from 5.18 to end in KOI TUMSA from DASHAVATAR.

The continuous subtle metal guitar guitar kicks in from 2.55 to 3.02

Himesh's lines from 3.03 to 3.11 have high pitched forceful emphasis singing, with emphasis in line BAATEIN - NN -NN - NN (4 step gradually descending notes) from 3.11 to 3.14

The song goes in to serious business end mode when the harmonium theme piece shifts to a terrific higher pitch/scale from 3.34 onwards, thus creating an INTENSE semi-classical impact that gives JAZBA to listener from 3.39 to 3.46 which is the SECOND BEST part of song.

The ending harmonium flick from 3.47 to 3.48 is terrific.

Highlights of this song:

1. Himesh's desperation plea vocals with a mix of middle octave emphasis (mukhda) and restraint (stanzas) singing.

2. Jayesh's catchy croons in between 2nd stanza gap.

3. Male croons to get hold of listener's semi-classical pulse.

4. The underlying free flowing laidback beats, catchy harmonium theme piece (terrific higher pitched in end), profound heavy quick rhythmic tabla beat pattern, quick pounding heavy drum hits, raga tunes, continuous subtle metal guitar in stanzas, profound heavy quick tabla pattern and feel good guitar riffs.

Himesh strikes the right chords with this song, which is a perfect promotional prop also courtesy of the lyrics by Sameerji.

Milenge Milenge

The title reads "they are back together", but the fact from HR fans perspective is that Himesh the pre-ABA composer is back in action.

The song starts with Jayesh's catchy middle octave vocals (which is a well deserved break from his usual shortened high-pitched passionate emphasis croons in bits n parts) along with semi-plugged beats that builds up the song tremendously.

Feel good funky guitar (not the tune) from 0.20 to 0.30 & 0.33 to 0.37 that was also similarly used from 2.08 to 2.28, 2.39 to 2.42 & 4.15 to 4.19 in MERI AANKHON MEIN from YAKEEN, & from 0.18 to 0.22 in TUMHE JITNA BHULATE HAI from SHUKRIYA plays along with intermittent bazz trumpet and audience cheers that depict a stage setup performance.

The underlying free flowing beats kick in from 0.30 onwards.

The African-ish male croons from 0.30 to 0.32, 0.35 to 0.37, 1.00 to 1.02, 1.10 to 1.12, 1.53 to 1.55 & 1.58 to 2.00 are the USP to depict the desperation plea as suggested by the title of Album / Song.

Jayesh's line, HAMARA-AAA (off-da-hook profound twist) from 0.43 to 0.44

From 0.58 onwards, Alka arrives with her melodious catchy lines MILENGE MILENGE.

The bazz trumpet that kicks in between 1.00 & 1.17, 1.24 & 1.32 is of great cause.

Though not related with each other, upon hearing Alka's line OH SONEYA from 1.17 to 1.19, one cant help humming the line OH SONEYA OOO from 0.26 to 0.28 in MERI CHANDI TU from ISHQ HAI TUMSE.

Alka's line, MANMONEYA-AAAA (awesome profound twist) from 1.21 to 1.22

Alka's melodious lines from 1.32 to 1.34 & 1.37 to 1.39 is the build up part.

The soothing feel female chorus from 1.34 to 1.37 & 1.39 to 1.42 that gives a similar feel from 1.03 to 1.05 & 1.08 to 1.10 in ISHQ HAI ISHQ HAI from ANJAANE - THE UNKNOWN, gives the completeness effect to Alka's build up lines.

The quick repetitive key flicks from 1.42 to 1.17 are of great cause.

Alka's line, KEHNAAAAAA (prolonged melody) - AA (awesome sudden abrupt high/up note) from 1.47 to 1.49

Between mukhda & 1st stanza, the bazz trumpet plays followed by Jayesh's feel good croons, with emphasis from 2.15 to 2.20 that remind of croons from 2.11 to 2.15 in TUNE DI BEKARARI from BLACKMAIL.

1st stanza

The off-da-hook 2 hit 'pattern' that gives sahi desired effect from 2.21 to 2.22 is similar to the 2 hit 'pattern' at 2.50 in KYON KI - VERSION 2, from 1.41 to 1.42 & 2.00 to 2.01 in VAADA YEH TERA VAADA from NIGEHBAAN - THE 3RD EYE, at 1.38 & 2.07 in DIDAVE from AABRA KA DAABRA.

Alka's lines with underlying beats is a melodiously free flowing affair, with emphasis on line YEH MERI NAZAR (awesome halke se feel) from 2.32 to 2.35

Alka's melodious lines from 2.37 to 2.40 & 2.43 to 2.45 is the build up part whereby the completeness effect is given by the soothing feel female chorus from 2.40 to 2.42 & 2.45 to 2.47

The quick repetitive key flicks from 2.48 to 2.52 are of great cause.

Alka's line, TARPAOGEEEEE (prolonged melody) - EE (awesome sudden abrupt high/up note) from 2.53 to 2.54 is a pre-ABA composition touch.

Jayesh returns with his catchy middle octave vocals, with emphasis on lines WOOO (feel good) from 2.54 to 2.55, & DEEWANAPAN HAI * 2 (awesome catchy) from 2.56 to 3.00

Between 1st & 2nd stanza, an awesome oriental flute piece plays which was also used (the instrument, not the tune) from 0.04 to 0.12 & 0.54 to 0.57, 2.30 to 2.32 & 3.50 to 3.54 in CHURA LIYA HAI TUMNE TITLE TRAX, from start to 0.04 in IS TARAH DEEWANE from INSAN, and from 1.00 to 1.20 in AAKHIYAAN LADA JAA from BLACKMAIL.

2nd stanza

The whoosh beat effect at 3.21 was similarly used at 2.06 & 3.38 in PYAR ME TERE from VAAH!LIFE HO TOH AISI.

Alka's lines with underlying beats is a melodiously free flowing affair, with emphasis on line TUJHME KHO GAYEE (awesome halke se feel) from 3.32 to 3.34

Alka's melodious lines from 3.37 to 3.39 & 3.42 to 3.44 is the build up part whereby the completeness effect is given by the soothing feel female chorus from 3.39 to 3.41 & 3.44 to 3.46

The quick repetitive key flicks from 3.47 to 3.51 are of great cause.

Alka's line, SAVAR MEINNNNN (prolonged melody) - NN (awesome sudden abrupt high note) from 3.52 to 3.54 is a pre-ABA composition touch.

Jayesh returns with his catchy middle octave vocals, with emphasis on lines WOOO (feel good) from 2.54 to 2.55 & TANHA * 3 (awesome catchy) from 3.55 to 3.59

The song ends with soothing background female chorus followed by oriental flute, along with audience cheers thus confirming that this is a stage song.

Highlights of this song:

1. Jayesh's catchy feel good middle octave vocals & Alka's melodious vocals which are both heard after a long time.

2. The underlying free flowing rhythmic beats, bazz trumpet, oriental flute, quick repetitive keys and beat effects.

3. Male desperation plea croons, soothing female chorus & audience cheers.

This is a bright and peppy melody whereby Himesh - the pre-ABA composer is doing his usual thing.

Tum Chain Ho

This song is not about Himesh vs Sonu but rather the Himesh-Sonu combo (who did some terrific works in pre-ABA era).

The song has an 'out of the world Angelistic' beginning.

The song starts with Jayesh Gandhi's refreshing croons and mesmerising tune sur with subtle piano keys as if the listener is in outer space amongst stars, a truly serene exotic beginning!

Sonu's subtle feel vocals are complimented well by likeable piano flicks, with emphasis from 0.13 to 0.15

Sonu's line JAL JAAYE (subtle feel) from 0.28 to 0.30 is similar to his line AATE HO (subtle feel) from 0.36 to 0.38 in TUMHE JITNA BHULATE HAIN from SHUKRIYA.

From 0.30 to 0.40, the soothing female chorus provide a calming experience as if the listener is in mother angel's arms backed up by Suzanne D Mello's reassuring fully expressive penetrating vocals from 0.41 to 0.48

From 0.48 onwards, the catchy repetitive tune along with the repetitive HEAVY hits builds up the listener's sike.

Sonu's line, ANY ONE (feel good up down notes) at 1.08

The catchy repetitive raga theme piece with emotional quotient plays from 1.09 to 1.13 & 1.24 to 1.28

From 1.17 onwards, himesh hits it real good with HARD and SHARP underlying laidback beat pattern that gets the listener into da zone.

Sonu's line, ISHQ (penetrating vocals make an impact) from 1.19 to 1.20 & 1.34 to 1.35

Sonu's line, HO - OO - OO ( 3 step notes descent) from 1.47 to 1.49 in SYNC with 3 guitar riffs & CHAIN (halke se feel) from 1.50 to 1.51 & 2.57 to 2.58.

Between mukhda & 1st stanza, the computerized combo synthesis of awesome flute piece and guitar riffs from 2.00 to 2.05 is contemporary new-age SKIP EFFECT that gives kick. The catchy raga theme piece plays from 2.05 to 2.10

1st stanza

The underlying rhythmic laidback pattern along with Sonu's vocals is a free flowing affair that gets the listener into da zone.

Sonu's lines, SANAM-MMM from 2.12 to 2.13, ITNI-IIII from 2.14 to 2.15, BADE-EEE from 2.30 to 2.31, & MEIN-NNN from 2.33 to 2.34 have awesome profound low twist.

An awesome emotional raga tune plays from 2.18 to 2.21

Sonu's line JAL JAAYE (subtle feel) from 2.23 to 2.26 & SAMJHAAYE (subtle feel) from 2.42 to 2.44 is similar to his line AATE HO from 0.51 to 0.53, 3.56 to 3.57, JAATE HO from 1.03 to 1.04 & 4.07 to 4.08, UTHATE HO from 2.23 to 2.25, AAZMATE HO from 3.45 to 3.47 in TUMHE JITNA BHULATE HAIN from SHUKRIYA.

The HISTORY tune with emotional feel from 2.36 to 2.38 that konnekts with and wins over the listener is used from same trumpet used for history tune sur in between 4.03 & 4.08 in YEH DIL TOH from DIL NE JISE APNA KAHA.

The sur provided by guitar riffs from 2.52 to 2.53 is an interesting mix.

Between 1st & 2nd stanza, feel good female croons are accompanied by cutting-edge techno sound effect, with emphasis from 3.20 to 3.21 (instrument cuts through with echo effect). Terrific pre-ABA feel good guitar riffs play from 3.22 to 3.23

2nd stanza

The underlying rhythmic laidback pattern along with Alka's vocals is a free flowing affair that gets the listener into da zone.

Melodious Alka arrives into Himesh's musical framework after ages.

Her lines, FASLA-AAA (off-da-hook profound melodious low twist) from 3.24 to 3.25, DARD KO-OOO (off-da-hook profound melodious low twist) from 3.27 to 3.28, LAGI-IIII (awesome profound melodious low twist) from 3.42 to 3.43, & KHAMOSHIYA-AAN (awesome profound melodious low twist) from 3.45 to 3.46

A terrific emotional raga tune plays from 3.31 to 3.33 that enhances the desperation plea from herione's viewpoint.

The HISTORY tune with emotional feel from 3.48 to 3.51 that konnekts with and wins over the listener is used from same trumpet used for history tune sur in between 4.03 & 4.08 in YEH DIL TOH from DIL NE JISE APNA KAHA.

The sur provided by guitar riffs from 4.04 to 4.06 is an interesting mix.

The song ends with feel good female croons along with subtle piano keys in unplugged mode.

Highlights of this song:

1. Sonu's subtle feel vocals, Alka's melodious vocals & feel good female croons.

2. The underlying rhythmic laidback heavy beat pattern that takes its own sweet time to come to da party.

3. The new-age computerized synthesis of awesome flute & guitar riffs in between 1st stanza gap.

4. The cutting edge techno sound effect in between 2nd stanza gap.

5. The catchy repetitive raga theme piece, subtlly likeable piano keys, feel good pre-ABA guitar riff, intermittent emotional raga tunes and history tune sur in stanzas.

This song is a class act with strong traces of typical unique HR melody and god knows what harm such songs would do in Himesh's current set-up.

Ishq Ki Gali

After giving high-pitched lines to Rahat Fateh Ali in the semi-classical Main Jahan Rahu, himesh gives him scope in middle octave in this typical Indian number.

The song starts with an intense raga piece along with semi-plugged beats that were similarly used at start of BAN JAAIYE from SILSILAYand from 0.10 to 0.18 in DIL KE MAARE HAIN from VAAH!LIFE HO TOH AISI.

From 0.21 to 0.30, Jayesh gandhi's high pitched passionate croons are backed up with subtle feel good female chorus, with emphasis on line RABBA (awesome prolonged gradual feel good up twist) from 0.25 to 0.28, 0.56 to 0.58 & 1.41 to 1.43

The feel good Indian string-based instrument (with interent twist) along with whistle type groovy intermittent sound from 0.31 to 0.40 that builds up the song tremendously is typical of Himesh - the pre ABA composer as it was similarly used (the instrument, not the tune pattern) from start to 0.10 in CHEHRA TERA from YAKEEN and it was a trademark pre-ABA instrument used mostly for theme pieces at start, i.e. from 0.41 to 0.50 in KABHI NA SUKUUN AAYA from KOI AAP SA & from 0.34 to 0.45 in MERI NAS NAS MEIN TUM HO from DIL NE JISE AAPNE KAHA.

The cute tune from 0.32 to 0.33 & 0.35 to 0.36 adds a naughty touch to the guitar theme piece.

The full on underlying beats with a good dose of tabla beats and daffli effect kick in from 0.41 onwards, along with a subtle faint flute until 0.50

The fast paced tabla beats from 1.01 to 1.03 give great kick start to Rahat's middle octave mukhda lines.

An awesome raga tune plays from 1.13 to 1.16

Rahat's line, DEE (awesome profound twist) WAAN (awesome profound twist) GEE from 1.16 to 1.17, MERE (awesome desperation feel) from 1.23 to 1.24

The fast-paced lighter tabla beat set from 1.29 to 1.30 is the build up part followed by heavier profound tabla beat set from 1.30 to 1.31 that gives the kill effect.

Between mukhda & 1st stanza, the feel good guitar theme piece is back followed by subtle feel good female chorus.

1st stanza

The fast paced tabla beats from 2.01 to 2.04 that were similarly used in many other pre-ABA melodies at same spot give perfect kickstart to stanza.

From 2.01 to 2.21, Rahat sings in middle octave on a well structured effective tune pattern, with emphasis on KAHANEEE (awesome desperation plea twist) from 2.14 to 2.15, and the accompanying raga tune enhances the emotional quotient in his desperation plea vocals.

From 2.22 to 2.31, Rahat touches lower octave notes, with emphasis on LAGE -EEE (subtle lower octave twist depicts a sense of helplessness) from 2.25 to 2.26, along with traditional laidback heavy drum skips.

From 2.31 to 2.41, Rahat sings with feel good vocals on a repetitive tune.

Jayesh pours his heart out with lines MERE (off-da-hook feel twist) from 2.41 to 2.42, DIL KI (awesome desperation plea) from 2.44 to 2.45, & ISHQ (awesome desperation plea) from 2.46 to 2.47

The high-pitched male alaap from 3.07 to 3.09 signifies the tadap and ehsaas.

Between 1st & 2nd stanza, the intense raga piece along with semi-plugged beats that was used at start of song returns, followed by subtle feel good croons.

2nd stanza

The fast paced tabla beats from 3.37 to 3.40 that were similarly used in many other pre-ABA melodies at same spot give perfect kickstart to stanza.

From 3.38 to 3.57, Rahat sings in middle octave on a well structured effective tune pattern, with emphasis on ASMAAN (awesome desperation plea twist) from 3.47 to 3.48, and the accompanying raga tune enhances the emotional quotient in his desperation plea vocals.

From 3.58 to 4.02, Rahat touches lower octave notes along with traditional laidback heavy drum skips.

From 4.02 to 4.12, Rahat sings with feel good vocals on a repetitive tune.

Jayesh pours his heart out with lines MEE (off-da-hook prolonged feel twist) from 4.12 to 4.13, DIL KI (awesome desperation plea) from 4.15 to 4.16, & ISHQ (awesome feel) from 4.17 to 4.18

The high-pitched male alaap goes classical from 4.38 to 4.40 and signifies the tadap and ehsaas from 4.53 to 4.59

The song ends with Jayesh's high pitched passionate emphasis croons along with heavy laidback drum skips and a profound synthetic bazz instrument at 4.58, 5.03 & 5.08

Highlights of this song:

1. Rahat's desperation plea and feel good middle octave vocals.

2. The full on Indian orchestration comprised of tabla beats and daffli effect, pre-ABA guitar theme piece, intense/emotional raga tunes and fast-paced (lighter/heavier profound) tabla beat effects.

3. Jayesh's high-pitched passionate emphasis croons, subtle feel good female croons and male alaap.

Milenge Milenge Version 2

The song is a loungish affair with a rock touch in terms of orchestration.

It begins in unplugged mode with a haunt bazz tune followed by haunt piano piece aong with guitar riffs until 0.22

A whooshing techno sound plays from 0.23 to 0.26

Heavy profound beat effect kicks in from 0.27 to 0.44 along with intermittent male classical croons.

Off-da-hook 2 quick hard beat effect at 0.43

A funky guitar piece plays from 0.44 to 1.03 along with intermittent synthetic piano piece.

The male vocals with a soothing whisper touch depicts the eternal connection between 2 souls that haven't yet met.

The awesome oriental flute plays from 1.11 to 1.19

From 1.19 to 1.21, 1.42 to 1.44 & 2.15 to 2.17 the musician tests out his instruments to create an off-da-hook beat pattern that gives sahi desired effect.

From 1.21 onwards, a new subdued himesh is heard courtesy due to middle octave vocals with self composure and restraint, that one hears closely whether it is actually really him. His such typical hindustani singing would allow him to fill in the shoes of Udit Narayan and Kumar Sanu if he ever returned to composing typical indian pre-ABA duets, talk about a new voice!

Himesh's line, GEEEEE (profound prolonged middle octave impact) from 1.23 to 1.25, 1.35 to 1.36, 1.44 to 1.45 & 1.49 to 1.51

The whishing techno sound from 1.23 to 1.32 and the intermittent likeable piano keys from 1.45 to 1.53 & 2.03 to 2.09 are of great cause.

Shreya's lines, KENHA-AAAAA (prolonged melody) AA (abrupt up twist) from 1.58 to 2.00, GEEEEE (melodious voice deepening) from 2.04 to 2.06 & 2.17 to 2.20, & GEE (awesome profound feel twist) from 2.08 to 2.09

Between mukhda & 1st stanza, a subtle flute piece plays along with underlying profound heavy matka beat effect and male desperation plea croons. An underlying bazz sound joins in from 2.31 to 2.41 followed by a raga piece from 2.42 to 2.51 along with beat skips.

1st stanza

The 2 quick heavy hits at 2.54 give sahi desired effect.

From 2.52 to 3.08, himesh continues with his new found middle octave feel vocals with emphasis on line REEEE (profound middle octave impact vocals) from 3.01 to 3.02 and is complimented well by Shreya's subscequent melodious vocals.

The penetratingly groovy tune from 3.11 to 3.18 enhances the haunt feel.

Between 1st & 2nd stanza, a string based raga tune plays from 3.46 to 4.02 along with intermittent male classical croons with underlying profound heavy beat effect. A likeable tune piece plays in unplugged mode from 4.02 to 4.12 along with cutting-edge faintly subtle phone line tone.

2nd stanza

The 2 quick heavy hits at 4.15 give sahi desired effect.

Shreya's lines are melodious.

From 4.28 to 4.47, himesh sings with middle octave desperation plea vocals, with emphasis on HAAI (soothing feel) at 4.31 & 4.36, HAAAAA (prolonged) AAA (profound up twist) from 4.44 to 4.46

The quick repetitive keys from 4.31 to 4.38 give the haunt touch.

Shreya's line, manmoneYA - AA -AA (3 step gradual descent) from 5.00 to 5.01

From 5.24 onwards, a funky guitar and synthetic piano piece (from 5.34 to 5.41) along with bazz trumpet play from 5.24 to 5.34 is joined in by male desperation plea croons from 5.42 to 6.00

The haunt effect is at its max with off-da-hook computerized female vocal croons MILENGE MILENGE in semi-plugged mode from 6.06 to end.

Highlights of this song:

1. A new himesh who sings within himself in middle octave without going fulltu.

2. The new-age loungish orchestration with heavy rock beat effects comprising of cutting edge techno instruments, funky guitar, oriental flute, likeable piano keys, raga tunes, penetrating groovy sounds, underlying bazz sound and faintly subtle phone line tone.

3. Male desperation plea croons and off-da-hook computerized female haunt croons.

Himesh scores in 2 areas, music arrangement and his new-ish vocals that faintly sound like Rahat Fateh Ali Khan at few places, as also noted in line JAANE KAHAAN from 0.46 to 0.51 in TERI MERI DOSTI.

Hare Kanch Ki Chuddiyan

The listener visualizes da simple innocent dhokla boy image of Himesh - the pre ABA composer upon playing this song which belongs to the "wedding / celebration" genre.

It begins with a tune piece with jingle touch in unplugged mode whose scale would take time to get used to via repeat hears, in context of the sur of the vocals.

The female chorus kicks in from 0.10 onwards, with emphasis on tune of line HOOOO (melodious feel twist) from 0.18 to 0.20 which has resemblance to tune of line HOOOO (melodious feel twist) from 1.48 to 1.50 in TERE NAAM TITLE TRAX - FEMALE VERSION.

The continuous quick tune flick from 0.23 to 0.25 reminds of the continuous quick tune flick from start to 0.10 & 3.27 to 3.30 in BADE NAAZUK DAUR SE from RUN.

Alka's line, chudiyaan-AAAN (twist) from 0.41 to 0.42 was similarly used in line milnaa-NAAA (twist) from 3.19 to 3.20 in TERA MERA MILNAA from AAP KA SUROOR - THE MOVIEE.

The fast-paced tabla beats from 0.44 to 0.46 & 1.04 to 1.06 give sahi desired effect.

Alka's vocals on well structured core mukhda lines from 0.43 to 0.53 & 1.03 to 1.14, with emphasis on KEEE (desperation plea twist) from 1.10 to 1.11 is a melodious affair, enhanced by interesting underlying tune sur mix.

Alka's line, KE-EEEEEEE (prolonged voice shake) from 1.00 to 1.02

Between mukhda & 1st stanza, a subtle bansuri piece plays along with traditional drum skips.

1st stanza

The fast-paced tabla beats from 1.26 to 1.27 that were similarly used from 3.10 to 3.11 & 4.32 to 4.33 in KYON KI ITNA PYAR and from 3.00 to 3.01 in DIL KE BADLE BADLE SANAM from KYON KI.

Alkas's repetitive lines DARPAN * 3 (repetitive hook) from 1.27 to 1.31 & SAAJAN * 3 (repetitive hook) from 1.35 to 1.39 is similar to line KAB SE * 4 (repetitive hook) from 2.06 to 2.11, RAB SE (repetitive hook) from 2.23 to 2.27, KYA HAI (repetitive hook) from 3.38 to 3.43 & 3.55 to 3.59 in PYAR MEIN TERE from VAAH!LIFE HO TOH AISI.

The pleasantly likeable bansuri from 1.31 to 1.33 & 1.39 to 1.41 is of good cause.

From 1.41 to 1.50, Alka sings with subtle vocals along with underlying traditional heavy drum skips and intermittent bazz trumpet.

Between 1st & 2nd stanza, the tune piece with jingle touch is followed by a Rajasthani folk tune from 2.27 to 2.32 and subtle bansuri piece from 2.32 to 2.37

2nd stanza

The fast-paced tabla beats from 2.38 to 2.39 that were similarly used from 3.10 to 3.11 & 4.32 to 4.33 in KYON KI ITNA PYAR and from 3.00 to 3.01 in DIL KE BADLE BADLE SANAM from KYON KI.

Alkas's repetitive lines AALAM * 3 (repetitive hook) from 2.40 to 2.43 & HAR DUM * 3 (repetitive hook) from 2.47 to 2.51 is similar to line KAB SE * 4 (repetitive hook) from 2.06 to 2.11, RAB SE (repetitive hook) from 2.23 to 2.27, KYA HAI (repetitive hook) from 3.38 to 3.43 & 3.55 to 3.59 in PYAR MEIN TERE from VAAH!LIFE HO TOH AISI.

The pleasantly likeable bansuri from 2.43 to 2.45 & 2.51 to 2.52 is of good cause.

From 2.53 to 3.02, Alka sings with subtle vocals along with underlying traditional heavy drum skips and intermittent bazz trumpet.

The varying key flicks in between 3.29 & 3.43 is of good cause.

Things get intense with passionate feel from 3.44 onwards.

A gradually rising haunting piece plays from 3.44 to 3.54 followed by awesome synthetic guitar that makes an impact from 3.55 to 3.57 & 4.00 to 4.02 with intermittent haunt croons depicting a test of character and patience of the protagonist in the mandir.

The song gets into its business end with female croons MILENGE MILENGE that strike a chord in between 4.05 & 4.13 along with quick intense key flicks depicting a sense of urgency, followed by combo of gradually rising haunt tune and female haunt croons until 4.23

The grand trumpet (instrument, not tune) from 4.24 to 4.34 that was similarly used from 0.49 to 1.08 & 3.31 to 3.40 in DIL SE JUDA EHSAAS - MALE VERSION from TAARZAN, followed by piano keys in unplugged mode gives a serene experience.

Highlights of this song:

1. Alka's melodious vocals and female chorus with feel factor.

2. Full on typical Indian orchestration comprised of tune piece with jingle touch, pleasantly likeable bansuri, bazz trumpet, fast paced tabla beats, rajasthani folk tune, traditional heavy drum skips, synthetic guitar and grand trumpet at end.

Himesh has attempted to use jingle and chime effect to enhance the melodious effect in Alka's mukhda lines to create an innovative mix.

The gap between the sur of Alka's mukhda lines and the scale of these instrumental effects felt in initial hears will be bridged once the listener gets used to the sound in overall totality upon repeat hears.

Tum Chain Ho (Unplugged)

Ever since Himesh's policy decision to sing all his songs henceforth, sare male singers ka pata kut tha.

But considering the fact that Milenge Milenge does not have him as a whole package, Himesh creates an oppurtunity for his chela Vineet to croon a song in order to uphold his pledge of promoting young blood.

The entire song has subtle laidback feel good guitar riffs which accompany and give great interlude to Vineet's soothing feel vocals (full marks to him) to make an overall thehrav outing that gives sukoon to da listener.

The guitar riffs from 1.14 to 1.24 have a saddistic element of desperation plea.

Vineet's lines, YAAD (desperation plea emphasis) from 2.08 to 2.09, KARAAR (desperation plea) from 2.18 to 2.19, & MERI (desperation plea emphasis) from 3.30 to 3.31

Which version is better?

The original version is better as an overall total package because it outdoes the unplugged version in terms of beat effect, orchestration and impactful melody in terms of repeat hear value.

But if you are ideally a listener who wants to feel this song in a quiet evening all alone by yourself or in a silent night with lights turned off, then you are likely to swear by this song which expresses a lovers passionate feelings for their someone special.

Verdict

Milenge Milenge is rich in VARIETY / VARIATION of sound which is something that current Himesh's albums lack. This album has a lot to offer, even to his haters who enjoy his compositions but not necessarily his singing (where were the haters in pre-ABA era and how did they suddenly crop up in numbers in post-ABA era!).

This album has all the 3 key pre-ABA elements:

> Alka Yagnik's melodious vocals.

> Jayesh Gandhi's croons.

> Soothing female background chorus.

Himesh, as a composer:

> Use of Harmonium in the Kuch Toh Baaki Hai which is terrific semi-classical instrument selection!

> Use of off-da-hook male classical vocal percussion in Kuch Toh Baaki Hai which is an innovative experiment.

> The laidback beat pattern that hits it HARD n SHARP, the terrific emotional raga pieces and history trumpet tune sur in stanzas in Tum Chain Ho.

> The serene exotic touch given from start to 0.47 in Tum Chain Ho, a trend he has recently given from start to 1.22 in Teri Meri Dosti from Radio, from 4.08 to 4.20 in Teriyaan Meriyaan, from 3.18 to 4.01 in Woh Lamha Phir Se and Shreya's part in Tujhe Dekh Ke from Kajraare.

> Off-da-hook new-age computerized skip-effect synthesis of awesome flute & guitar riffs in between 1st stanza gap and off-da-hook cutting edge techno sound effect in between 2nd stanza gap in Tum Chain Ho. (Things get really exciting when himesh reshammiya experiments and plays around with sound!).

> New-age loungish orchestration with heavy beat effects having Rock touch in Milenge Milenge version 2.

> Trademark pre-ABA feel good guitar riff from 3.22 to 3.23 and Suzanne's terrific penetrating seductive impactful croons in Tum Chain Ho and trademark pre-ABA string based instrument with inherent twist from 0.31 to 0.50 in Ishq Ki Gali (elements that are no longer used and abandoned post-ABA!).

As a singer, a new vocal attempt with:

> Middle octave desperation plea vocals in stanzas of Kuch Toh Baaki Hai.

> Middle octave vocals with self composure and restraint in Milenge Milenge version 2, whereby a new himesh sings a typical hindustani gaana within himself and not his usual fulltu self.

Any negatives?

Well, frankly fans shouldn't be complaining too much because this comes across as a bonus since the project was stuck in the dark pipeline for ages and there was a doubt that would it ever see the bright rays of light. Secondly, this is a refreshing change that breaks the ice and would quench the thirst of those that were desperately craving for pre-ABA melodies. Whether delayed or not, this album would not do any harm whatsoever for himesh - the musician, so its a thumbs up for this one! This calls for a double treat for himesh fans who get a good taste and dose of both worlds i.e. pre-ABA & post-ABA at the same time.

My Picks

From Himesh's "composed only" songs:

1. Tum Chain Ho (Sonu & Alka)

The underlying beat has a hard and sharp hit pattern. The mesmerizing flute along with guitar riffs that give kick from 2.00 to 2.05 joined in by an emotional feel raga tune piece from 2.05 to 2.10 in between 1st stanza gap. Suzanne D Mello's seductive feel croons along with cutting techno instrument (with repetitive echo effect) from 3.08 to 3.21 followed by feel good guitar riffs from 3.22 to 3.23 in between 2nd stanza gap. BEST PART of song in terms of orchestration is the HISTORY tune with emotional feel that konnekts with and wins over the listener from 2.36 to 2.39 & 3.48 to 3.51 in overall context of Sonu and Alka's lines.

music video review

Start is nostalgic fairytale until 0.27 followed by catchy repetitive build up tune from 0.27 to 0.30, Underlying laidback beat has a SHARP hit pattern. Guitar riffs give kick from 0.44 to 0.53 along with catchy emotional feel raga tune piece, with emphasis on off-da-hook twist at 0.49. Sonu's line, CHAIN (halke se feel) from 1.14 to 1.15, 2.18 to 2.20, MERA (halke se feel) from 3.40 to 3.41, OFF-DA-HOOK oriental flute piece from 1.24 to 1.29 followed by catchy raga tune piece from 1.29 to 1.34 in 1st stanza gap, terrific techno instrument cuts through Suzanne's seductive feel croons from 2.28 to 2.41 in 2nd stanza gap, HISTORY tune from 1.58 to 2.01 & 3.08 to 3.10 konnekts with n wins over da listener. Alka's lines, FAASL-AAAA (terrific quick profound melodious twist) from 2.45 to 2.46, DARD KOOOOO (terrific quick profound melodious twist) 2.47 to 2.48 followed by terrific emotional feel raga tune from 2.51 to 2.53, Shahid - Bebo's chemistry is smokin hawt and the rugged scenic locales are visually aesthetic.

2. Milenge Mlienge (Jayesh & Alka)

3. Ishq Ki Gali

The feel good guitar based theme piece (with inherent twist) from 0.31 to 0.50 used countless times in pre ABA era (only instrument, not the tune pattern). The lighter set of tabla beats from 1.29 to 1.30 followed by heavier profound set of tabla beats from 1.31 to 1.32 BEST PART of song is Jayesh Gandhi's catchy croons, MERE SAATHI MERE DIL KI HAI YEH SADA ISHQ MEIN DARD KI ISHQ HI HAI DAWA (pours his heart out) from 2.42 to 2.52 & 4.12 to 4.23

4. Radha Ho Gayi Shaam Ki

5. Tum Chain Ho Unplugged (it may be fav of some fans due to Vineet's subtle feel vocals and overall laidback mood of song with thehrav in da proceedings).

From Himesh's "sung & composed" songs:

1. Kuch toh Baaki Hai (catchy semi-classical) & Milenge Milenge version 2 (loungish rock) - TIE

Kuch toh Baaki Hai

This song has 2 BEST PARTS. 1st best part is Himesh's lines, DIL MEIN BAAKI HAI (literally pours his heart out) AAI (sudden abrupt twist that gives kick) from 1.13 to 1.19 along with the profound tabla beat pattern that catches the classical pulse of listener. 2nd best part is when the well-structured catchy harmonium theme piece at a LOWER scale used intermittently throughout the song jumps/shifts to a TERRIFIC INTENSE HIGHER SCALE near the end i.e. only lower scale from 3.30 to 3.34, the higher scale joins in from 3.34 to 3.38 and completely dominates and takes over from 3.38 to 3.46 whereby it is in full form and gives JAZBA to the listener, thus making for an intense semi-classical outing.

Jayesh Gandhi's catchy croon from 2.30 to 2.36 in between 2nd stanza gap. Awesome vocal classical adlip throughout the song, off-da-hook from 2.47 to 2.55 which catches listener's classical pulse.

See how the mindset of a composer works...when Himesh had to do a promotional song for Milenge Milenge, which was Kuch Toh Baaki Hai...he referred back to his previous work that he did for Shahid n Kareena, n he took inspiration from Dil Tumhare Bina...i.e. the line, Dil Tumhare Bina is similar to the line Kuch Toh Baaki Hai...n Himesh used that as a building block to make Kuch toh Baaki Hai...so it shows that composers will always look for inspirations from their past works n also consider looking into albums in which they gave music for the same star/s...if it was a different lead pair, may be the source of inspiration could have been different.

Milenge Milenge version 2

Haunting love duet with a mix of Rock and Lounge feel.

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