Music review analysis of Himesh Reshammiya's album Red - The Dark Side (2007).
Afreen Tera Chehra
The song builds up tremendously with underlying bazz sound and groovy female croon AAAH HAAAN (prolonged seductive mysterious haunt feel) from 0.04 to 0.08 which sets the undertone / mood of song, followed by mesmerizing groovy flute piece from 0.09 to 0.24 along with a cutting edge sound effect.
After this terrific build up that gets da listeners into da zone, the underlying rhythmic beat with a repetitive skip pattern kicks in from 0.17 onwards.
Himesh's line, TERI BAATEIN (off-da-hook fulltu high pitch, with echo effect) from 0.43 to 0.43
The well structured tune from 0.50 to 0.52 in the lines of 'chahe jho ho' is TERRIFIC as it gives a complete effect.
Himesh pours his heart out in his BUILD UP line, TERA PYAAR PAANA HAI-AAAAAAAI (HISTORY prolonfed desperation feel twist, pours his heart out) from 1.04 to 1.06 which lonnekts with and wins over da listener, followed by VOCAL KILL effect in line, CHAHE JOH HO-OOOOOOOOO (OFF-DA-HOOK prolonged passionate emphasis vocals with slow dying / fading effect, depicting the obsession of the lover) from 1.09 to 1.12
The key aspect of this singing is how in the 1st line TERA PYAAR PAANA HAI, there is tadap, kashish n ehsaah in vocals as if lover is pleading for his love, whereas in 2nd line CHAHE JOH HO the vocals have a purpose n cause, as if the lover is demanding his love and will strive to obtain it at any cost whatsoever.
Off-da-hook quick beat effect from 1.13 to 1.14
Himesh's line, JOH HO-OOOO (vocal deepening emphasis gives JAZBA) from 1.47 to 1.48
In the whole song, the part that gives maximum sensation is afREEEEEEEN (sudden high note "REEEEEN" taking over from low note "af") and stanzas go hand in hand with mukhda as the song is very well structured.
Between mukhda & 1st stanza, a new age synthetic piece plays from 1.49 to 1.55 followed by jayesh's fulltu high pitched passionate emphasis croon YEEEEAH. Off-da-hook quick heavy beat effect that just 'HITS IT' from 1.56 to 1.57 followed by raga tune piece from 2.02 to 2.19 that emotionally wins over the listener.
1st stanza
The beat effect at 2.19 gives sahi desired effect.
From 2.44 to 2.55, the word geharIIIII (emphasis twist) hai is awesome.
From 2.52 to 2.53, the tune pattern of the line chahiYEE is same as the line TUMHARE BINA from 1.07 to 1.09 from DIL TUMHARE BINA from 36 CHINA TOWN. The beat effect gives sahi desired effect.
The BEST part of song and MAXIMUM sensation is from 3.03 to 3.04, when himesh croons the HISTORY off-da-hook fulltu high-pitched line aaFRIIIII (high note) EEEEE (highest note) EEEEN (normal note)
Himesh's line TERA (desperation, echo effect) from 3.04 to 3.06 is terrific.
Between 1st & 2nd stanza, the synthetic instrument from 3.38 to 3.46 is awesome. Jayesh Gandhi's MARHABAAA croons (OFF-DA-HOOK prolonged catchy twists) from 3.47 to 3.55 are well structured
Jayesh's VARIATION in his second marhaba croon from 3.51 to 3.54, MAR (normal) HA (down note) BAAAAAAAAAAAA (prolonged normal note) AAAAAAAA (extended down note) AAAAAAAAAAAA (extended down note) AAAAAAAAA (extended up note) AAAAAAAA (extended down note) AA (extended down note) AA (extended up note) GAP, AA (hurried down note) AA (quick down note) AA (hurried up) AA (hurried down) is terrific.
2nd stanza
The beat effect at 3.55 gives sahi desired effect.
Himesh's line DIN (melodious pinch) from 4.06 to 4.07
Himesh's line khawish MEIN (feel twist) at 4.11
The rest of lines gain sympathy from the hero's viewpoint.
Himesh's line, AFREEEN (off-da-hook fulltu high pitched) from 4.39 to 4.40 is HISTORY vocals.
Himesh's line, TERA (desperation, echo effect) from 4.40 to 4.42 is terrific.
Highlights of this song:
1. Himesh's knife-edge sharp vocals.
2. New age instruments, raga tunes and awesome kickass beats.
3. Jayesh gandhi's MARHABA croons in between 1st & 2nd stanza gap.
4. The seductively groovy female croons right at beginning that set the undertone of this song.
This is one of best sung and composed songs of himesh reshammiya. It gives most and maximum sensations in initial repeat hears, just as the case with NAAM HAI TERA from AAP KA SUROOR.
Ameen
The RAGA INSTRUMENT (not the tune pattern) used in this song in the mukhda itself, in between mukhda and 1st stanza from 1.44 to 2.00 and between 1st and 2nd stanza from 3.16 to 3.24 was also used in song CHALO DILDAR CHALO (DIL DIYA HAI) from 0.05 to 0.33
This is actually a very uljha va semi-classical song.
Not everyone will like it but those into classical will.
This song is a mixture of prayer and plea,it is about desperation.
This song relies very heavily on underlying tabla beats, their pattern is awesome. AMEEN is meant to be the core melody of the mukhda.
The song kick starts on string type tune followed by the tabla pattern i.e. the 2 sets of 3 tabla beats followed by just 1 hit after a gap is awesome
From 0.12, Himesh weeps his voice out in lines of ameen just like pleading to god, this is the uljha wha part...
From 0.28 to 0.45, Himesh begins in MIDDLE OCTAVE on lines meri khwahish TU-UUUUU(LOWER TWIST)...mera sadja TU-UUUUU(LOWER TWIST), the RAAGA instrument that plays gives good overall effect to the TU-UUUUU (LOWER TWIST)
From 0.46 to 1.19, 2.34 to 3.58 tere ishq ko paau (still middle octave), at 0.50 , AE NAAZNIII(LOWER TWIST) from 0.51 to 0.52, 1.24 to 1.25, 2.40 to 2.41, 4.03 to 4.04, the POWER of Himesh's LOWER OCTAVE is on display.
High-pitched AMEEN chants return
Between mukhda & 1st stanza, raga instrument plays
1st stanza, it is MIDDLE OCTAVE slogans, especially HAI-AI-AI (2 ECHO EFFECT).
Between 1st & 2nd stanza, a pleasant flute piece plays
2nd stanza
It is MIDDLE OCTAVE slogans, especially DAROMADAR...SAVAR.
Highlights of this song:
1. AE NAAZNIII(LOWER TWIST) from 0.51 to 0.52, 1.24 to 1.25, 2.40 to 2.41, 4.03 to 4.04, the POWER of Himesh's LOWER OCTAVE is on display.
2. The unique innovative pattern of the TABLA beats i.e. the 2 sets of 3 tabla beats followed by just 1 hit after a gap.
3. The lines TU-UUUUU (LOWER TWIST) along with raga instrument.
Ek Tum Hi
Himesh gives Jayesh Gandhi an oppurtunity to sing a solo after a long time.
The CONSTANT core theme tune piece of this song was also used in AASHIQUANA HAI DIL from AAP KA SUROOR.
This core tune is from 0.21 to 0.35, and used intermittently in the song.
At 0.53 & 5.50, the high note KYAAAA (down down down) is just about okay sokay.
From 1.08 to 1.22, along with the underlying bazz sound is ok.
Between mukhda & 1st stanza, the bazz sound and the synthetic piano keys are effective to create a haunting feel. From 2.13 onwards, HR croons loneliness is killing everyone along with a very wicked tune at 2.16, 2.19 &2.24, and all his part from 2.13 to 2.26, along with the heavy metal guitar effect gives SIKE. From 2.28 to 2.42, the violin tune is pleasing in an otherwise charged up song i.e. the same pattern that was also used in AASHIQUANA HAI DIL from AKS in between 1st & 2nd stanza.
1st stanza
Jayesh's lines, sanam (slogan), RAAVAAAAAN (classical twist at 3.00 & 3.19).
From 3.28 to 3.43, the lines along with an underlying bazz sound are nice.
Between 1st & 2nd stanza, the string instrument plays from 3.51 to 4.05 and HR comes to rip out the soul of the listener from 4.05 to 4.20, he croons AFREEEEE in a very pleading type manner just like a tadpi whi rooh. He returns to his usual antics from 4.21 to 4.28 in lines AFRE (sudden highesh note) EEEEN TERA CHEHRA AFRE(sudden highest note) EEEEN TERI AANKHEN.
2nd stanza
Jayesh's line RANNNNNNNNG (classical twist at 4.54 & 5.12).
From 5.21 to 5.36, the lines along with an underlying bazz sound are nice.
Highlights of this song:
1. The CONSTANT core theme tune piece of this song was also used in Aashiquana Hai Dil - Aap Ka Suroor.
2. Himesh's croons in between stanzas.
This song heavily relies on the music arrangement therefore Jayesh-the singer does not get to make his kill due to the average melody tune. Hence his short croons in other songs are more effective but nevertheless it is always indeed very good of Himesh to give his loyal long time crooning companion cum associate any solo number that he rightfully deserves.
This song is unique in a way because usually Jayesh croons in Himesh number but here the roles are OPPOSITE as Himesh is crooning in a Jayesh number.
Seems Himesh was very happy with Jayesh at that time as he gave him a full solo and also returned back the favor by crooning for him in between.
Dil Ne Yeh Na Jaana
Ustad Himesh Reshammiya is at the helm of affairs.
The song begins with Siemens ring rone in between 0.02 & 0.25 that was similarly used from 4.59 to end in KUCH MEETHA HO JAAYE SONG and from 0.04 & 0.33 in SONIYE from AKSAR.
Harsdeep kaur's haunting deep vocals kickstart proceedings.
From 0.11 to 0.25, the whole line is divided/split into 3 segments. 1st segment, woh lamha lamha, gap, kat TIIII (low twist), gap, TERE (lower) NAAM SE (lowest twist). Think of it as a staircase, take 3 steps, stop for a while, take 3 down steps, stop for a while, take 3 down steps. Awesome composition pattern by Himesh.
The tabla beat pattern from 0.25 onwards is great, especially the 4 quick tabla hits in repetitive pattern.
From 0.33 onwards, Himesh croons with utter feel, ho GEEEE (at 0.41 & 0.51), NAZDEEKEYON ME (halke se feel) at 1.01
From 1.13 onwards, Himesh croons Jaana in all possible ways to convey the emotion, emphasis from 1.27 to 1.28
Between mukhda & 1st stanza, the painful haunting raaga instrument plays.
1st stanza
Salute to the tabla player for the quick OFF-DA-HOOK REVERSE SKIP TWIST PATTERN in tabla beats from 1.41 to 1.59 that catches the classical pulse of the listener.
From 1.45 to 1.46, SAAYE (twist feel).
Great tune pattern at 1.56, after the line 'lekar aaye'.
Harshdeep's line, IS (halke se feel) TARA at 2.02
From 2.33 to 2.36, the display of the 4 quick tabla hits is on display clearly.
Between 1st & 2nd stanza, more dard bhari haunting raaga instruments.
2nd stanza
Salute to the tabla player for the quick OFF-DA-HOOK REVERSE SKIP TWIST [PATTERN in tabla beats from 2.50 to 3.10 that catches the classical pulse of the listener.
Himesh's line, TERI UMEED TERI BAATEIN (off-da-hook fulltu high pitched singing) from 2.50 to 2.54, whereby the listener can feel the painful intensity in his singing, its like he is lost in another world of pain n desperation...kya jazba aur junoon hai is gaayeki mein, bilkul doob ke gaaya hai, jaise ke woh ek alag duniya mein ho jahaan pe tadap aur ehsaas hai.
From 2.50 to 2.51, Himesh's line TERI (off-da-hook fulltu super high pitch with maximum impact of feel, emotion and tadap), BAATEIN (feel twist), KAT TEEEEEEEEE (terrific classical down twist), TERE NAAA (terrific classical down twist) AAAAAAAM. Its like the listener is waiting for that effect in between the gaps.
From 3.05 to 3.06, RAATEINNNNN (down twist) is similar to line FAASANA-AA (down twist) 1.28 to 1.29 & 1.42 to 1.43 in NAMUMKIN from SHAKA LAKA BOOM BOOM.
At 3.10, BECHAINGEEE (hake se feel twist).
The violin piece at 3.36 & 3.49 is of great cause.
Harsdeep finishes the good work that she initially started in an unplugged haunt feel.
The song ends with Siemens ring rone in between 4.10 & end that was similarly used from 4.59 to end in KUCH MEETHA HO JAAYE SONG and from 0.04 & 0.33 in SONIYE from AKSAR.
Highlights of this song:
1. Himesh's dil se dard bhari singing and Harshdeep's heavy husky haunting vocals.
2. 4 quick tabla hits in repetitive pattern.
3. REVERSE SKIP TWIST PATTERN in the tabla beats in start of each stanza.
4. From 0.11 to 0.25, the whole line is divided / split into 3 segments...great composition pattern.
5. Haunting raaga instruments in between both stanzas and tune in stanzas where mentioned.
Loneliness Is Killing
This song has a kaafila feel.
This is a very laid back song as represented by the beats that have a slight cult effect.
The female lines 'loneliness is killing everyone' set the groovy nature of the song.
The tune piece from 0.24 to 0.43 is the core tune in the song and used intermittently.
From 0.57 onwards, HR croons in MIDDLE OCTAVE and the lines tera mera mera tera with beats are ok type.
After the line yeh akelapan, the one key hit (tune sur) at 1.18., 1.48, 2.37 & 3.25 is effective.
HR's emphasis line 'aaja aaja', is just a touch inspired by jhalak dikhlaja, note the twist of AAJA at 1.23, 1.53, 2.42 & 3.30.
From 1.28, 1.58, 2.47 & 3.36, the line JAANEMAN is catchy.
1st & 2nd stanza, the tune is a cakewalk for Himesh - Sufi Rwak composer whereby Himesh - Sufi Rwak singer croons slogans in middle octave (mostly). The casual singing style compliments the casual beats.
Highlights of this song:
1. The one key hit (tune sur) after the line yeh akelapan.
2. JAANEMAN at 1.28, 1.58, 2.47 & 3.36
This song belongs in a CASUAL KABEELA/KAAFILA genre, just like DIL LAGAYEENGE from SHAKA LAKA BOOM BOOM.
My Picks
From Himesh's 'sung n composed' songs:
1. Afreen Tera Chehra (USP of album)
Himesh's BEST lines are, TERI (off-da-hook fulltu high pitch, with echo effect) from 0.40 to 0.43, the BUILD UP line HAAAAIIIIIIIII (prolonged feel twist whereby Himesh literally pours his heart out) from 1.03 to 1.06, followed by line, chahe jho HOOOOOOOOOO (off-da-hook prolonged slow dying/fading KILL effect) from 1.09 to 1.13, HOOOOOO (prolonged) OO (abrupt emphasis) from 1.46 to 1.48 gives SIKE, AF - REEEEN (off-da-hook fulltu high-pitched) from 3.03 to 3.04 & from 4.39 to 4.40. OFF-DA-HOOK quick heavy beat effect from 1.56 to 1.56
tera pyaar paana hai, chahe joh ho-oooooooo
The difference between Video version and Audio version is that there are additional Alaaps and Sargams of Jayesh Gandhi in the video version, like...killer intro alaap from 0:08 to 0:24, catchy sargam at 0:44, 1:07, 2:45, 3:10 to 3:20 & 3:40 to 3:50...after putting the CD of Red in music system and pressing Play, goosebumps were felt listening to this song for the 1st time.
2. Dil Ne yeh Na Jaana
It is a sad semi classical song. The emotional raga piece in between both stanza gaps depicts da shattered state of da lovers who are at crossroads. The quick OFF-DA-HOOK REVERSE SKIP TWIST PATTERN in tabla beats from 1.41 to 2.02 & 2.05 to 3.12 catch the classical pulse of listener. Harshdeep Kaur's line, IS TARAH ASHK KI (awesome halke se feel) from 2.02 to 2.05, Himesh pours his heart out and gives it his all in the BEST line of song, TERI UMEED TERI BAATEIN (OFF-DA-HOOK fulltu super high pitched passionate emphasis vocals with maximum impact of feel, emotion and tadap) from 2.50 to 2.54 at start of 2nd stanza that strikes a chord. Himesh's line, KAT TIII TERE NAAAM (off-da-hook quick descending note pattern) from 3.00 to 3.04 as if da listener is getting down a spiral staircase. Himesh's line, RAATEIN-EEN (terrific twist) from 3.05 to 3.07, He sings with a sad undertone in line, IS TARAH BECHAIN-GEE (halke se desperation plea twist) MERE SAATH from 3.07 to 3.13, Himesh's line, HO GEEE (desperation plea) from 0.40 to 0.41, 0.50 to 0.50 & 1.08 to 1.09, NA JAANA (desperation plea) from 4.03 to 4.04 has kashish n tadap.
3. Ameen
Himesh's core mukhda lines AMEEN (high pitched desperation plea) are much like offering a fariyaad to uparwala. The POWER of Himesh's LOWER BAZZ OCTAVE is showcased in line, AE NAZNEEEN from 0.51 to 0.53 & 1.24 to 1.26
4. Loneliness Is Killing Everyone
From Himesh's 'composed only' songs:
1. Ek Tum Hi
The underlying beat pattern that reminds of beat pattern of AASHIQANA HAI DIL from AAP KA SUROOR makes the proceedings CHARGED UP. The BEST PART in song is Himesh's catchy interlude lines in between 2nd stanza gap, AFREEEN (desperation plea vocals whereby he pours his heart out) from 4.05 to 4.35
Remixes
Ameen
It is better than original due to increased tempo and overall impact. Himesh's mukhda lines MERI KHWAHISH TU-UUUU, MERA SAJDA TU-UUUU along with remix beats from 1:03 to 1:18 take the listener into a depressive state of trance.