Music review analysis of Himesh Reshammiya's album Darling (2007).
Tadap
The song begins with semi-plugged beats that skips itself.
A raga instrument plays from 0.05 to 0.08, 0.13 to 0.16, 0.43 to 0.46 & 2.00 to 2.02
Himesh's line, HUMNASHEE (soothing with echo effect) from 0.17 to 0.19 & 0.23 to 0.24
Himesh's well structured prolonged vocal theme piece alaap, OOOO OOOO from 0.24 to 0.43 is the core melody and USP of the mukhda.
Himesh's vocals, OOOO (desperation plea twist) at 0.38, 1.09, 1.54 & 2.37 were similar to line NAA (desperation plea twist) at 0.32, 1.11, 1.36 & 2.14 in SAMJHO NA from AAP KA SUROOR.
The quick repetitive piano keys from 0.26 to 0.43 & 0.51 to 1.03 are catchy.
The metal guitar kicks in from 0.46 to 0.50
The free flowing beats kick in from 0.46 onwards.
Himesh's line, TADAP (deliberate arrogant feel, shouting vocals) at 1.19
Very cute tunes play from 1.21 to 1.24 & 1.39 to 1.40
The bazz trumpet kicks in between 1.28 & 1.35, 2.12 & 2.13
Himesh's line, OOOOO (off-da-hook max melodious echo effect) from 1.44 to 1.45 is BEST of all his OOOO croons.
The additional intermittent heavy drum hits from 1.41 to 2.01 & 2.24 to 2.44 are of great cause.
From 2.02 onwards, Tulsi sings with her melodious sweet vocals, with emphasis on TADAP (high-pitched melody) from 2.04 to 2.05, HASRAT (high-pitched melody emphasis) from 2.09 to 2.10
Between mukhda & 1st stanza, the raga tune plays.
1st stanza
Himesh is on top of his sufi-rwak singing form with high pitched slogans MEIN - NN - NN (left abruptly with repetitive echo effect).
The bazz trumpet gives great intermittent tune sur throughout the stanza.
Tulsi sings her lines with melodiously passionate vocals.
Himesh lines from 3.35 to 3.43 are sung with soothing feel.
Between 1st & 2nd stanza, Himesh croons the quick repetitive TADAP in sync with fast paced tabla beats (that were also used in same spot in AASHIQ BANAYA AAPNE TITLE TRAX) along with underlying metal guitar, and the quick repetitive piano keys hit in the latter part. Himesh's lines HAAAI (desperation plea twist) from 4.19 to 4.20 & 4.27 to 4.28, HAAAI (utter soothing feel) from 4.28 to 4.33. The beat effect from 4.33 to 4.35 was similarly used from 2.52 to 2.54 in AFREEN from RED. A likeable tune plays from 4.35 to 4.45
2nd stanza
Himesh's is on top of his sufi-rwak singing form with high pitched slogans HAI –AI -AI (left abruptly with best echo effect).
The bazz trumpet gives great intermittent tune sur throughout the stanza.
Himesh goes fulltu in line HAAAAI (TERRIFIC profound twist) from 4.59 to 4.50 just the way he poured his heart out in line TANHA – AAAA (HISTORY profound twist) from 4.52 to 4.53 in DIL TUMHARE BINA from 36 CHINA TOWN.
With such profound twists, one of his biggest sufi-rwak singing style of prolonged abrupt twists-n-turns with added emphasis is on display.
Tulsi sings her lines with melodiously passionate vocals.
Himesh lines from 5.16 to 5.25 are sung with soothing feel.
A likeable continuous tune joins Himesh towards end of the song.
Highlights of this song:
1. Himesh's well structured prolonged vocal theme piece alaap OOOO part that is core melody of mukhda and USP of song.
2. The quick repetitive piano keys, heavy drums that play behind OOOO, accompanying continuous tune sur and raga tune.
3. The bazz trumpet used effectively throughout and the fast paced tabla beats used in gap between 1st & 2nd stanza.
4. Himesh's slogan type powerful vocals with twists and sooth feel, and Tulsi's innocent melodious sweet vocals.