shaadi_se_pehle

Music review analysis of Himesh Reshammiya's album Shaadi Se Pehle (2006). 

Mundeya

This is vintage Sunithi Chauhan Trax.

She croons wholeheartedly YEEEE OOOUUUUOOOO (OFF-DA-HOOK fulltu high-pitched).

From 0.06 to 0.24, the awesome tune builds SIKE and in the end a wicked computerized voice is great.

Jayesh's HAYO RAABA croons are of great cause.

The beats are chilled out rhythmic free flowing.

The female chorus from 0.37 to 0.46 is feel good.

The intermittent female chorus from 0.47 to 0.55 is soothingly naughty.

Sunithi's lines, AA BHI JA * 2 at 0.57, 1.01, 1.19 & 1.24, LEKE JAA * 2 at 0.59 & 1.22 is TYPICAL UNIQUE HR MELODY and BEST of this song.

Sunithi's lines, mahiYAAAAAAAAAA (prolonged voice deepening with end dying effect) from 1.16 to1.18, JAAAAAAA (awesome quick twist) from 1.26 to 1.28

At 1.28 to 1.29, sunidhi's HEEYYYAAAA is casual bindass and remind of her such vocals in TERI GALIYON SE from MAIN AISA HI HOON.

Between mukhda & 1st stanza, the tune piece is very likeable along with cheeky female vocals followed by jayesh's croons. Both stanzas are very feel good.

1st stanza

From 2.03 to 2.04, the beat effect gives perfect kick start.

Jayesh's intermittent croons are great.

Sunithi's lines, teri aarZOOOOOO (voice deepening with desperation emphasis plea twist) from 2.17 to 2.18, har ghaDDIIIIII (voice deepening with desperation emphasis plea twist) from 2.19 to 2.20

The male HOOOO in between 2.15 & 2.22 followed by sunithi's bindaas HEEEEYEEEEAAA and underlying faint groovy tune gives great overall effect.

From 2.26 to 2.30, catchy composition.

From 2.33 to 2.35, mahiyAAAAAAAAAA (prolonged voice deepening plus end dying effect) along with TERRIFIC sharp CALYPSO beat that hits 4 times.

At 2.48, JAAAAAAAA (awesome quick twist).

Between 1st & 2nd stanza, a well structured groovy ambient tune that plays from 2.59 to 3.07 is joined in by soothing female chorus from 3.08 to 3.16

2nd stanza

From 3.22 to 3.23, the beat effect gives perfect kick start.

Jayesh's intermittent croons are great.

Sunithi's lines, sanaMMMMMM (voice deepening depicting desperation emphasis plea) from 3.22 to 3.33, paaAAAAAL (voice deepening depicting desperation emphasis plea) from 3.24 to 3.25, chatEEIN (emphasis), dUUUUUUU (awesome profound twist) from 3.38 to 3.39, MEEEIN (emphasis).

The male HOOOO in between 3.37 & 3.45 followed by sunithi's bindaas HEEEEYEEEEAAA and underlying faint groovy tune gives great overall effect.

From 3.45 to 3.49, catchy composition, especially MERI (TERRIFIC emphasis).

From 3.53 to 3.54, behind mahiyAAAAAAAAAA (prolonged voice deepening plus end dying effect) after which the sharp CALYPSO beat keeps getting heavy in unplugged mode followed by heavy BAZZ sound hits from 3.55 to 3.57 for the BUILD-UP part.

The KILL EFFECT is delivered from 3.58 to 3.59 when 2 sets of quick 2 OFF-DA-HOOK HEAVY DHOL beats hit.

From 3.53 to 3.57 is BEST part of song.

The female chorus UUUUUU from 4.04 to 4.21 on same tune in between 1st & 2nd stanza enhance the overall melody impact.

Sunithi's whole hearted croons YEEEE OOOUUUUOOOO (OFF-DA-HOOK fulltu high-pitched) from 4.18 to 4.22, along with JAAAA (OFF-DA-HOOK quick twist) at 4.21

The female vocals at 4.23 & 4.25 are soothingly naughty.

Jayesh finishes with a statement.

Highlights of this song:

1. The build up of the song until 0.24

2. Vintage sunidhi's vocals, female chorus and vocals wherever mentioned.

3. Sunithi's mukhda lines AA BHI JA, LEKE JA mentioned as best & typical unique HR melody.

4. Jayesh's HAYO RABBA, energetic male croons HOOO in stanzas, tune piece in between 1st and 2nd stanza.

5. Beat effect at start of stanzas, and from 3.53 to 3.57 which is BESTpart of song.

This is a feel good song.

Some critics are cheating their audience by saying that Shaadi Se Pehle was a "weak and ordinary" album, nothing short of a disappointment.

The truth is that this album is GOOD but it was completely overshadowed by HR's vocals and he didn't even sing a single one in this album. That is all.

Sometimes the critics get fooled by the timing of albums more than anything else!

Aakhiyon Se Gal

Its music video gives tremendous SIKE, jaise ke zehen me josh aur junoon bhar deta hai.

The song starts on a very seductive note in unplugged mode courtesy of Suzanne D Mello's seductive feel vocals/whispers and Himesh keeps the listener second-guessing where the song is heading.

From 0.20 to 0.26, the low to high graph gradually rising SOPRANO notes of the female voice are awesome build up, with emphasis from 0.24 to o.26 with OFF-DA-HOOK gradual voice rise that gives HALKE SE KICK and gets da listener into da groove.

Until this point Himesh - the composer keeps da listener second-guessing as to where da song is heading to, until he just HITS IT with RWAKING MAST JHAKAASS BEATS from 0.26 onwards, that are similar to da underlying beats of AASHIQ BANAYA AAPNE TITLE TRAX, JHALAK DIKHLAJA from AKSAR and BADI DILCHASPI HAI from 36 CHINA TOWN in terms of underlying 1 bit SHARP beats that belong to da same Waltz instrumental set.

A synthetic piano theme piece joins in from 0.31 onwards that was similar to da synthetic piano (instrument, not tune) used at start of TUM SAANSON MEIN from HUM KO DEEWANA KAR GAYE, and it is used in between throughout da song.

Sukhwinder's lines, HULCHULLLLLLL (prolonged) - AH (abrupt emphasis ending vocals give KICK) from 0.41 to 0.43 & 0.48 to 0.50

OFF-DA-HOOK semi-plugged beats from 0.56 to 0.59, 1.25 to 1.27 & 1.50 to 1.52 give intermittent build up SIKE.

Himesh KILLS it from 0.59 to 1.07, 1.29 to 1.35 & 1.53 to 1.59 when full beats hit again along with intermittent energetic Punjabi male croons HAI whereby da song is in its full form with da listener totally feelin it and getting into da foot tapping zone.

Sunithi makes her presence felt immediately from 1.35 to 1.44 with feel good penetrating vocals.

Sukhwinder's line, HULCHUL (awesome twists) from 1.48 to 1.49

Da underlying bazz sound throughout da mukhda is of great cause.

Between mukhda & 1st stanza, the synthetic piano theme piece plays along with seductive feel female vocals from 2.00 to 2.09 followed by male vocals and intermittent heavy metal guitar from 2.09 to 2.19

1st stanza

Sukhwinder and Sunithi sing with feel good vocals on a simple yet effective tune from 2.19 to 2.43, along with intermittent subtle female croons.

The synthetic piano theme piece from 2.29 to 2.34 gives good intermittent effect.

Between 1st & 2nd stanza,a peppy Punjabi flavored tune piece plays along along with female seductive croons.

2nd stanza

 Sunithi and Sonu sing with feel good vocals on a simple yet effective tune from 3.17 to 3.39, along with intermittent subtle female croons.

The synthetic piano theme piece from 3.24 to 3.30 gives good intermittent effect.

Sonu's line, DEEWANAPAN - NNNN (awesome passionate feel good twist) from 3.37 to 3.38

From 3.39 to 3.41, the passionate high-pitched female croons are OFF-DA-HOOK.

From , Sunithi's penetrative vocals 3.40 to 3.50 & 4.04 to 4.08 make an impact and strike a chord.

The synthetic piano theme piece finishes off the song from 4.36 onwards.

Highlights of this song:

1. Sukhwinder's emphasis vocals, Sonu's feel good vocals and Sunithi's penetrating impact vocals.

2. Mast underlying jhakass / kickass beats with a SHARP rhythmic hit pattern.

3. The build up part comprising of off-da-hook semi-plugged beats followed by kill effect comprising of main underlying beats along with intermittent energetic Punjabi male croons HAI (kick giving stuff!).

4. Synthetic piano theme piece at start, heavy metal guitar in between 1st stanza gap, peppy Punjabi flavored tune piece in between 2nd stanza gap and da underlying bazz sound throughout da background of da song

5. Suzanne D Mello's variations of seductive feel croons and whispers at varying pitch ranges in between low to high (off-da-hook at start build up and 2nd stanza).

Play this song if you are in a bindaas mood and you are looking for the foot tapping kick factor.

Tuteya Ve

First things first, those who are into serious classical music will enjoy this composition more and if you are one of them then welcome home.

The song begins with great string instrument in unplugged mode with painful high-pitched prolonged Jayesh croons AE DIL.

HR ropes in one of the biggest Punjabi veteran in form of the great Daler mehndi and he is the perfect choice for this song.

The twist in Daler's line VEEE (quick up down up down) is nice.

The main beat kicks in from 0.53 onwards and it slowly grows and gets hold of the listener. The key is their sync with the vocals.

Daler's lines PYAR DAAAAA (painful twist) from 1.26 to 1.27

The lines from 1.30 to 1.35 with the underlying beat make an impact.

The fast-paced heavy tabla beats from 1.40 to 1.46, 2.06 to 2.12 give sahi desired effect.

Between mukhda and 1st stanza, the nice oriental harmonica plays.

1st stanza

The quick rising fast tabla beats make their slight presence felt.

The composition and vocals get seriously classical.

The twist in daler's lines AAEE is the one of emotional plea.

Himesh requests daler to sing in high pitch and he gladly obliges.

The high-pitched lines from 2.49 to 3.12 make a solid impact with emphasis on the likes BE(terrific high note that strikes a chord, ufffff)KARARI at 3.03

If the listener concentrates on the whole tune sur behind the lines from 2.49 to 3.12, they will appreciate the greatness of the tune sur note from 3.10 to 3.11 that create a TERRIFIC overall effect.

Daler's lines mere YA (gradual emotional voice rise) AR DA-AAAAA (prolonged) - AA (subtle twist) from 3.19 to 3.22

Between 1st & 2nd stanza, the bazz trumpet hits (for sike purposes) along with cute tune is an interesting combination.

2nd stanza

Emphasis on Daler's high pitched lines especially EK(highest) AN (highest) JAANA from 4.08 to 4.10, TAN (highest) HAAI at 4.22

If the listener concentrates on the whole tune sur behind the lines from 4.16 to 4.26, they will appreciate the greatness of the tune sur note from 4.23 to 4.24 that create a TERRIFIC overall effect.

Jayesh's super-classical AE DIL-LLLLLLLL (uffffff, take a bow!) from 4.13 to 4.16 is INCREDIBLE and convey all feelings of sadness.

The song ends with a heavy dose of fast paced tabla beats that are similar to da fast paced profound tabla beats from 5.08 to end in LAGI LAGI from AKSAR.

Highlights of this song:

1. The deadly unique combo of Himesh - DALER MEHNDI

2. The slow rhythmic underlying beats, unplugged string tune in the beginning, feel good oriental harmonica tune in an intense song, fast tabla beats for sahi desired effect and bazz trumpet for sike purpose.

3. Jayesh gandhi's high-pitched vocals especially from 4.13 to 4.16 are his best.

4. Daler Mehndi's high-pitched singing especially the highest notes BEKARARI, EK, ANJANA, TANHAYI that strike a chord with the listener.

5. The tune sur from 3.10 to 3.11, 4.23 to 4.24 is the KEY in stanzas for the overall effect, when heard with the lines in totality.

Daler Mehndi sir, TAKE A BOW! You RWAK!

By the way, who said that Shaadi Se Pehle was a disappointing album!

Bijuriya

This song caters to the NICHE DOWN TOWN INTERIOR audience and belongs to the genre of songs like PYAR KI CHATNI from PHIR HERA PHERI.

The listener does not have to think too hard with this one but rather enjoy the feel good melody, thanks also to the lyrics for this aspect.

The song begins with a lead guitar tune piece along with a naughty funny sound effect at 0.02, 0.07 and so on.

The underlying free flowing beats from 0.18 onwards reminds of the underlying free flowing beats of NANHE YAAR from NANHE JAISELMER.

Alka's lines, BIJURIYA * 3 are melodious, especially the 3rd BIJURIYA (awesome feel) from 0.53 to 0.55

The fast tabla beats from 0.54 to 0.55 & 1.24 to 1.25 followed by a start-stop gap at 0.56 & 1.26 followed by 3 profound slow tabla hits in unplugged mode from 0.56 to 0.57 & 1.26 to 1.27 give sahi desired effect in overall context.

Alka's line, E-SH-ak (great emphasis singing) atfrom 0.57 to 0.58 & 1.06 to 1.07

The English catch phrase I THINK OF YOU ALL THE TIME OH BAWARIYA from 1.11 to 1.20, especially BAWARIYA is melodiously catchy and comes from the Himesh's old school of music whereby Sameerji has provided such interesting mixes in lines YOU ARE THE ONE FOR ME BERIYA VE from 2.17 to 3.25 in ANKH VICH CHEHRA from APNE, and in lines WANT YOU ALL THE TIME from 2.55 to 3.13 in CHEENA RE from TOM DICK N HARRY.

Sukhvinder's pours his heart out in lines, BIJURIYA BIJURIYA (TERRIFIC high pitched twist) from 1.20 to 1.22, BIJURIYA (OFF-DA-HOOK halke se lower oclave subtle feel vocals) 1.23 to 1.25 whish is the BEST part of song.

By the time the additional energetic high pitched male vocals arrive with intermittent whistles in between 1.25 and 1.44, the listener wants to sway away in extacy and take full LUTF whereby mood of proceedings is kept upbeat.

Between mukhda & 1st stanza, female chorus croon quick classical chants, with emphasis from 1.56 to 1.58 which has awesome feel. The profound tabla effect behind Sukhvinder's croons from 2.02 to 2.20 was similarly used from start to 0.03 in KUCH MEETHA HO JAAYE from KMHJ, at 2.53 & 2.56 in AAP KA AANA from KURUKSHETRA, from 3.04 to 3.12 in KABHI NA SUKOON AAYA from KOI AAP SA, and in between 0.33 & 0.53 in CHUDI KHANKAYI RE from YEH HAI JALWA, followed by a peppy Rajasthani folk / village tune from 2.21 to 2.30 along with intermittent whistles.

1st stanza

Alka's middle pitched vocals along with simple yet effective composition has a subtle feel good factor.

Sukhwinder's vocals have an emotional feel especially on lines MENE DIL TUJHPE HI HAARA (subtle low octave twist) HAI.

His feel good lines HOI * 3 and HAI * 3 in between Alka's vocals are of great cause to depict da feelings of the small town / village audience that are enjoying the item dance.

Alka's line, BIJURI-YAAA (awesome quick classical up twist) at 3.28, BIJU (TERRIFIC halke se subtle feel) RIYAAA from 3.29 to 3.31

Between 1st & 2nd stanza, an underlying profound raw drum beat is joined in by a bazz trumpet until 4.13 followed by a feel good harmonium piece until 4.32

2nd stanza

Alka's middle pitched vocals along with simple yet effective composition has a subtle feel good factor.

Sukhwinder's vocals have an emotional feel especially on lines AARMANO MEIN BAS TU HAI TU (subtle low octave vocals).

His feel good lines HOI * 3 and HAI * 3 in between Alka's vocals are of great cause to depict da feelings of the small town / male village audience that are enjoying the item dance.

Alka's line, BIJURI-YAAA (awesome quick classical up twist) at 5.26, BIJU (TERRIFIC halke se subtle feel) RIYAAA from 5.28 to 5.29

The additional energetic TREBLE male vocals along with whistles come in the end to sway the listener again.

Highlights of this song:

1. Alka's subtle feel good melodious vocals & Sukhwinder's emotional feel vocals with low pitch in stanzas.

2. The underlying free flowing beats.

3. The catchy English phrase sung by soothing female chorus, and the female classical croons in betwee 1st stanza gap.

4. The additional energetic treble male vocals along with intermittent whistles to sway the listener.

5. The tabla beat pattern with start-stop gap that give sahi desired effect, lead guitar with naughty funny sound effect, peppy Rajasthani folk / village tune,  bazz trumpet and feel good harmonium piece.

Tere Liye

The starting unplugged string tune is similar to the starting tune of LAGA PREM LOG from MAINE PYAR KYUN KIYA.

Alka joins with feel good croons from 0.04 to 0.12

The female chorus from 0.22 to 0.29 is melodious feel good.

Udit's line, AE SANAM-MM-MM-MM (prolonged feel good emphasis twist) from 0.35 to 0.38

The sur/pitch of the line TERE LIYE from 0.43 to 0.45 is great and stands out from rest of normal sur/pitch of overall song.

The underlying rhythmically foot tapping beats from 0.46 onwards are traditional styled and those on which the listener may get carried away to hop and shake a leg the old styled way.

Alka's rising melodious alaap from 0.55 to 0.58, 2.35 to 2.38 & 3.50 to 3.52 provides good intermittent vocal effect.

The one beat hit at 1.03 followed by the start-stop gap followed by underlying beats from 1.05 onwards is great.

Alka's lines, JATAYE (awesome melodious desperation feel)  at 1.12, TERE LIYE (awesome melodious desperation feel) from 1.22 to 1.24

Between mukhda & 1st stanza, feel good male vocals along with an underlying live voltage bazz sound from 1.27 to 1.35 followed by great quick rising flick from 1.35 to 1.36 that gives kick and a likeabe keyboard tune from 1.35 to 1.51

1st stanza

The composition is feel good and catchy.

Udit's UOOOOO from 1.54 to 1.55 is great starting sur. Waah kya sur pakda hai!

The 1 beat hit at 1.56 followed by stop-start gap and OFF-DA-HOOK raw drum hit pattern from 1.57 to 1.58 gives sahi desired effect and perfect kick start to Udit's lines.

The quick 3-4 keys rising keys from 2.01 to 2.02 and 2.20 to 2.21 give great tune sur.

Alka's line, PARCHAYIE HAI (awesome high pitched melody) from 2.20 to 2.21

The song is rwaking and in its full form when the underlying beats kick in again along with Udit's lines from 2.22 to 2.31, with emphasis on the continuous tune sur behind Udit's lines MERA JANAAN TERE LIYEEEEE (prolonged twist) that gives awesome combined overall pitch effect.

The 2 heavy drum hits at 2.34 that give sahi desired effect were also used at 1.38 & 2.07 in DIDAVE from AABRA KA DABRA, from 1.41 to 1.42 & 2.00 to 2.01 in VAADA YEH TERA VAADA from NIGEHBAAN - THE 3rd EYE, and at 2.50 KYUN KI FEMALE SAD VERSION (Alka) from KYON KI.

Between 1st & 2nd stanza, a passionately intense quick violin piece plays in an otherwise feel good song.

2nd stanza

The composition is feel good and catchy.

Udit's UOOOOO from 1.54 to 1.55 is great starting sur. Waah kya sur pakda hai!

The 1 beat hit at 3.10 followed by stop-start gap and OFF-DA-HOOK raw drum hit pattern from 3.11 to 3.12 gives sahi desired effect and perfect kick start to Udit's lines.

The quick 3-4 keys rising keys from 3.15 to 3.16 and 3.34 to 3.36 give great tune sur.

Alka's line, UTHAARA HAI (awesome high pitched melody) from 3.33 to 3.35

The song is rwaking and in its full form when the underlying beats kick in again along with Udit's lines from 3.36 to 3.45, with emphasis on the continuous tune sur behind Udit's lines  HAR DASTAAN TERE LIYEEEEE (prolonged twist) that gives awesome combined overall pitch effect.

The 2 heavy drum hits at 3.48 that give sahi desired effect were also used from in DIDAVE from AABRA KA DABRA, from in VAADA YEH TERA VAADA from NIGEHBAAN - THE 3rd EYE & from in KYUN KI SAD VERSION from KYON KI.

The song ends with soothing female chorus from 4.14 onwards.

Highlights of this song:

1. Udit's vocals & Alka's melodious vocals.

2. The underlying traditional rhythmic foot tapping beats.

3. The 1 beat hit followed by stop-start gap and OFF-DA-HOOK raw drum hit pattern at start of each stanza is the BEST orchestration is the song.

4. The rising tune sur keys, live voltage bazz sound in 1st stanza gap, quick passionately intense violin piece in 2nd stanza gap and the two heavy raw drum hits to give sahi desired effect.

 5. The feel good female chorus, soothing female chorus and Alka's intermittent rising alaap.

Sache Aashiq

This song that belongs to da SHAADI / CELEBRATION genre is good in "parts" rather than "entirety".

The song begins with a short grand trumpet followed by a rugged ruffled up techno sound  in unplugged mode, joined by Suhkwinder's high-pitched intense charged up intro vocals with echo finishing effect until 0.23

Sukhwinder's lines from 0.23 to 0.32 are likeably feel good subtle, with mention of his line RA (awesome emphasis vocals) BBA at 0.28

The underlying dhol beats that kick in from 0.33 onwards along with intermittent energeitc male Punjabi chants HAI make the song lively.

The core mukhda tag lines AAJA NACHLE SHAWA JINDH MERIYE that add a distinct Punjabi flavor have a déjà-vu feel about them.

Stanzas are better than the mukhda in terms of melody.

Beween mukhda & 1st stanza, a feel good synthetic tune piece plays from 1.48 to 1.57 along with underlying intermittent repetitive bazz sound and energetic male Punjabi chants.

1st stanza

Sukhwinder's lines in unplugged mode from 1.57 to 2.16 are feel good catchy and build up da stanza nicely, with emphasis on lines DIL & MUSHKIL with feel twist.

The OFF-DA-HOOK fast drum-roll beats from 2.06 to 2.07 give kick/sahi desired effect and get da stanza underway with subscequent full on rhythmic dhol beats.

Alka's lines are also catchy with emphasis on HAI (feel) at 2.20 and 2.25, YAAR (feel good) NAIYO DARNA HAI (feel twist) from 2.28 to 2.30

Alka's line, DARNA HA-AAAAAA (prolonged) - AAA (up twist) from 2.32 to 2.35 follows a similar pattern to himesh's line YAAAAAA (prolonged) AAAA (up desperation plea twist) from 1.15 to 1.19 & 5.06 to 5.08, line AAAA (prolonged) AAA (up desperation plea twist) from 2.26 to 2.30, 2.32 to 2.35, 4.18 to 4.22 & 4.24 to 4.27 in MAINE CHUN LIYA from DIL MAANGE MORE and prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA, the prolonged abrupt twist from ADAAA from 2.55 to 2.57 & JAGAAA from 4.17 to 4.20 in AADAT HO CHUKI from KOI AAP SA. 

Sukhwinder's line, OOOOOOOO (awesome prolonged gradual gentle voice deepening alaap, acha sur pakda hai!) from 2.33 to 2.34 followed by fast drum-roll beats from 2.34 to 2.35 that give intermittent kick.

Between 1st & 2nd stanza, an extended feel good Rajasthani folk tune piece plays along with intermittent energetic Punjabi male croons and underlying feel good Mirimba instrument. 

2nd stanza

Sukhwinder's lines in unplugged mode from 3.13 to 3.31 are catchy and build up da stanza nicely, with emphasis on lines PAGAL & PAL with feel twist.

The OFF-DA-HOOK fast drum-roll beats from 3.21 to 3.22 give kick/sahi desired effect and get da stanza underway with subscequent full on rhythmic dhol beats. 

Alka's lines are also catchy with emphasis on HAI (feel) at 3.36 and 3.41, BAAT (feel good) HUMNE MAANI HAI (feel twist) from 3.43 to 3.45

Alka's line, MAANI HA - AAAAAA (prolonged)- AAAI (up twist) from 3.47 to 3.50 follows a similar pattern to himesh's line YAAAAAA (prolonged) AAAA (up desperation plea twist) from 1.15 to 1.19 & 5.06 to 5.08, line AAAA (prolonged) AAA (up desperation plea twist) from 2.26 to 2.30, 2.32 to 2.35, 4.18 to 4.22 & 4.24 to 4.27 in MAINE CHUN LIYA from DIL MAANGE MORE, prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA, the prolonged abrupt twist from ADAAA from 2.55 to 2.57 & JAGAAA from 4.17 to 4.20 in AADAT HO CHUKI from KOI AAP SA.

Sukhwinder's line, OOOOOOOO (awesome prolonged gradual gentle voice deepening alaap, acha sur pakda hai!) from 3.48 to 3.50 followed by fast drum-roll beats from 3.50 to 3.51 that give intermittent kick.

The tempo of the song gradually increases with the elongated repetitive déjà-vu tune and lines to enhance da vibrancy of proceedings so that 'saare baarati jhoom barabar jhoom'. 

Highlights of this song:

1. Sukhwinder's vocals with feel and Alka's melodious vocals.

2. Underlying rhythmic dhol beats with intermittent energetic Punjabi male chants HAAI. 

3. Short grand trumpet followed by a rugged ruffled up techno sound at start, off-da-hook fast drum-roll beats, feel good synthetic tune piece along with underlying intermittent repetitive bazz sound in between 1st stanza gap, extended feel good Rajasthani folk tune piece and underlying feel good Mirimba instrument in between 2nd stanza gap.

2. Underlying dhol beats, fast drum-roll beats and Punjabi male vocals HAAI.

Verdict

May be the critics concluded that Shaadi Se Pehle was a disappointing album because Himesh did not sing a single song in it, and at that time there was mass hysteria about his vocals whereby back to back albums releaseing at that time all had songs sung in his voice.

Otherwise, Shaadi Se Pehle has a mixed bag of decent feel good and emotional feel tunes.

Himesh worked with Sukhwinder Singh in this album, because it was a Mukhka Arts presentation and Ghai saab must have insisted on roping him as he is quite fond of Sukhwinder, and he has also preferred him for his earlier film projects.

My Picks

1. Mundeya & Aakhiyon Se Gal Kar Gayi (tie).

Mundeya

Sunithi's whole hearted vintage croons, YEEEE OOOUUUUOOOO (OFF-DA-HOOK fulltu high-pitched) from 0.09 to 0.14 & 4.18 to 4.42 Underlying beats are rhythmic. BEST PART of song is from 3.58 to 3.59 with Sunithi's line, mahiyAAAAAAAAAA (prolonged voice deepening plus end dying effect) from 3.53 to 3.54 after which the sharp CALYPSO beat keeps getting heavy in unplugged mode followed by heavy BAZZ sound hits from 3.55 to 3.57 for the BUILD-UP part, followed by KILL EFFECT from 3.58 to 3.59, when 2 sets of quick 2 OFF-DA-HOOK HEAVY DHOL beats hit it. The soothing female chorus from 4.04 onwards is of great cause. Sunithi's line, JAAAA (OFF-DA-HOOK quick twist) at 4.21, Towards the end...Sunithi's line, MUNDEYA (off-da-hook singing) from 4:17 to 4:18, LEKE JA-AA-AA-AA (off-da-hook prolonged quick twist) at 4:21, along with off-da-hook fulltu wholehearted high pitch croon.

Aakhiyon Se Gal Kar Gayi

Suzanne D'Mello's off-da-hook gradual halke se voice rise from 0.24 to 0.26 until it reaches its off-da-hook fulltu high pitched peak scream from 0.27 to 0.31 gives a sinking feeling of the heart during a plane take off and as it gains altitude to reach its peak cruising height. The starting female seductive feel croons are cult stuff whereby Himesh just showcases how to build up a song to get da listeners into da zone.

2. Tuteya Ve, Bijuriya & Tere Liye (tie).

Tere Liye

It is a pre ABA styled melody with underlying traditional rhythmic foot-tapping beats. BEST INSTRUMENTAL PART of song is OFF-DA-HOOK drum hit pattern from 1.57 to 1.58 & 3.10 to 3.11 in unplugged mode before start of each stanza.

Tuteya Ve

The underlying beats from 0.52 onwards are laidback rhythmic. The fast paced tabla beats from 1.40 to 1.44 give sahi desired effect followed by profound tabla hit at that catches listener's classical pulse from 1.44 to 1.45. Daler Mehndi's BEST LINES are BE (OFF-DA-HOOK fulltu high-pitched) KARAARI at 3.03 in 1st stanza, and EK AN (OFF-DA-HOOK fulltu high-pitched) JAANA from 4.08 to 4.09, TAN (OFF-DA-HOOK fulltu high-pitched) HAAI at 4.22 in 2nd stanza.

Bijuriya

 

It is an interior downtown item number with rustic instruments. The BEST part is Sukhwinder Singh's lines, BIJURIYA BIJURIYA (off-da-hook singing that strikes a chord) from 1.21 to 1.23, followed by BI (pours his heart out with off-da-hook feel twist which konnekts with da listener) JURIYA from 1.23 to 1.25, By the time the high pitch additional male croons GIRI MUJHEPE TERE ISHAQ KI BIJURIYA from 1.25 to 1.30 & 1.39 to 1.43 arrive along with intermittent whistle piece, the listener just feels like forgeting everything n swaying away in estacy in bindaas jhoom barabar jhoom mode with a glass of sharbat in their hand to rejoice the moment of occassion.

 

3. Sache Aashiq

Remixes

Mundeya Remix

It is a full on peppy remix. It has two best parts. Firstly, da RWAKIN catchy fluctuating remix tune from 0.49 to 1.00, 1.16 to 1.27, 1.49 to 1.55, 2.16 to 2.27 & 2.48 to 2.54, Secondly, the semi plugged BUILD UP remix beats from 1.01 to 1.08

Tere Liye Remix

It has an underlying fluctuating calypso beat.

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