nigehbaan

Music review analysis of Himesh Reshammiya's album Nigehbaan - The 3rd Eye (2005).

Shaayar Shaayar

The song begins with an oriental beat pattern and jayesh's feel good vocals.

The harmonica piece plays from 0.55 onward along with soothing female chorus.

This effect continues on Shreya's innocently melodious vocals.

The composition pattern from 1.34 to 1.55, 2.05 to 2.15 is actually very well structured and the continuous female chorus gives good melodious effect, with emphasis on the sur from 1.53 to 1.55

Between mukhda and 1st stanza, a feel good tune plays followed by jayesh's feel good vocals.

1st stanza

Himesh uses his repetitive hooks formula from 2.38 to 2.43, 2.49 to 2.53 and jayesh croons intermittently.

The lines that comes to mind is from 2.16 to 2.34 & 3.37 to 3.57 in CHAIN HO CHAIN HO from RUN in terms of the repetitive pattern and use of Jayesh's feel good croons.

The female chorus from 2.58 to 3.05 gives good overall effect.

The tone pattern from 3.07 to 3.11 is great.

The 2 beat effect pattern (not the instrument) from 3.20 to 3.21 was similarly used from 3.58 to 3.59 in MUNDEYA (SHAADI SE PEHLE).

Between 1st and 2nd stanza, a flute piece plays with feel good female vocals followed by soothing melodious female vocals (awesome) and jayesh's feel good croons.

2nd stanza

Himesh uses his repetitive hooks formula from 4.15 to 4.20, 4.25 to 4.30 and jayesh croons intermittently.

The classical twist in Shreya's lines from 4.12 to 4.13 and 4.22

The lines that comes to mind is from 2.16 to 2.34 & 3.37 to 3.57 in CHAIN HO CHAIN HO from RUN in terms of the repetitive pattern and use of Jayesh's feel good croons.

The line LIKHKA at 4.17, DHADAKTHA HI at 4.27 and the line YAAR at 3.53 in CHAIN HO CHAIN HO(RUN)

The female chorus from 4.35 to 4.41 gives good overall effect.

The tone pattern from 4.43 to 4.47 is great.

The 2 beat effect pattern (not the instrument) from 4.56 to 4.57 was similarly used from 3.58 to 3.59 in MUNDEYA from SHAADI SE PEHLE.

The continuous female chorus behind Shreya's lines from 5.07 to 5.36

The soothing female chorus from 5.37 to end finish off the song in their soothing melodious vocals with emphasis on line SHAIRIYEE from 5.45 to 5.46

Highlights of this song:

1. Shreya's innocently melodious vocals (with classical touch in 2nd stanza) and Udit's feel good vocals.

2. Jayesh's croons and soothing female chorus especially at the end.

3. The 2 beat effect pattern that gives subtle kick in an otherwise gentle song, the tone pattern and flute piece.

This is a very feel good laid back song where the hero and heroine have a level of respect in their relationship than the usual fulltu expression of their love.

Ki Kara Mein Ki Kara (Duet)

This is a HISTORY song with typical unique HR melody AT ITS VERY BEST.

The starting catchy repetitive beat pattern that gives kick to the listener along with underlying fluctuating bazz sound is joined in by a sike giving deadly techno instrument from 0.06 onwards that depicts a resonating bazz sound created as a result of vibration caused by profound rubbing between heavy frictional objects.

The male feel good vocals arrive from 0.11 onwards.

Kunal's line WOOOOOOW,  from 0.15 to 0.16 |& 0.21 to 0.22 is typical unique HR melody, and it reminds of the tune pattern from 0.51 to 0.55 in CHURA LO from TAARZAN – THE WONDER CAR.

Kunal's lines from 0.22 to 0.42 are typical unique HR melody, with emphasis on NARMIYON (straight singing), GARMIYON (straight singing), ME KASHI (TERRIFIC).

The quick piano flick pattern at 0.24 & 0.27 is very likeable.

The 2 keys (normal note followed by higher note) from 0.31 to 0.32, 0.47 to 0.48, 0.54 to 0.55 & 1.13 to 1.14 gives TERRIFIC tune sur with heard in overall context of associated lines, genious stuff!

The feel good guitar riffs from 0.33 to 0.35 & 0.37 to 0.38 followed by harmonica piece from 0.39 to 0.40 is of great cause.

The techno sound along with KK's lines from 0.48 to 0.50 gets da listener into da zone.

The whole build up process up to this point is simply fabulous.

Hema sardesai sings with melodious penetrating vocals.

Her lines, KHII (deliberate innovative singing style, typical of Himesh) at 1.20, KIIII (HISTORY quick penetrating emphasis twist) at 1.24, KARAAAAA (HISTORY prolonged twist) until 1.25

Her lines, DIL HAI TUMSE (terrific) AASHNA from 1.25 to 1.27

Between mukhda & 1st stanza, a pleasantly mesmerizing whistle-type-flute piece plays from 1.27 to 1.48 and the beat effect pitch changes give kick, especially from 1.42 to 1.43 (terrific catchy) in overall context of pitch range. Jayesh croons with feel good vocals from 1.49 to 2.09

1st stanza

The terrific repetitive tune pattern behind Kunal's soothing feel lines in unplugged mode from 2.10 to 2.20 connects and conveys a sense of urgency and gives some kick in doing so.

The feel good male croons from 2.20 to 2.24 give great intermittent effect and chillax laidback touch to proceedings.

Hema's low pitched ALTO vocals connect from 2.24 to 2.36 and the soothing female chorus enhances the melodious feel.

Kunal's well structured passionate feel good lines from 2.36 to 2.47 are typical unique HR melody with emphasis on YEH at 2.36 & 2.42 (TERRIFIC straight singing), SURKHI-YAAAAN (TERRIFIC feel good twist) from 2.42 to 2.44 along with intermittent feel guitar riffs from 2.40 to 2.42 (trademark Himesh stamp).

The chime effect from 2.47 to 2.49 is likeably majestic.

Kunal's feel good croon, WOOOOOOW from 2.53 to 2.54 is typical unique HR melody.

Between 1st & 2nd stanza, the awesome well structured tune pattern is followed by soothing female chorus, with emphasis on MEEEE (TERRIFIC melodious desperation emphasis twist that gives kick) from 3.20 to 3.21, MANNNN (AWESOME up feel twist) at 3.22. The techno phone line tone goes computerized with quick skip effect from 3.33 to 3.34 followed by Jayesh's feel good vocals until 3.44

2nd stanza

The terrific repetitive tune pattern behind Kunal's soothing feel lines in unplugged mode from 3.44 to 3.55 connects and conveys a sense of urgency and gives some kick in doing so.

The feel good male croons from 3.55 to 3.59 give great intermittent effect and chillax laidback touch to proceedings.

Hema's low pitched ALTO vocals connect from 3.59 to 4.11 and the soothing female chorus enhances the melodious feel.

Kunal's well structured passionte feel good lines from 4.11 to 4.23 are typical unique HR melody with emphasis on HALKI HALKI (TERRIFIC) from 4.12 to 4.13, UTH RAHA (TERRIFIC) from 4.22 to 4.23 along with intermittent feel guitar riffs from 4.15 to 4.17 (trademark Himesh stamp).

The chime effect from 4.22 to 4.24 is likeably majestic.

Kunal's feel good croon, YEAEEEEEA from 4.28 to 4.29 is typical unique HR melody.

Kunal's lines, KI KARA MEIN (all on one single constant note) from 4.35 to 4.36, with emphasis on KI (HISTORY vocals) at 4.35 is killer stuff where Himesh is really playing around with listener's pulse.

Kunal's lines, MEIN (HISTORY feel good high note) at 4.39

Himesh reserves his best for the last whereby the song's graph picks up drastically and goes exponentially up to take it many notches higher upon the arrival of additional beats that kick in from 4.43 onwards along with the HISTORY soothing female chorus giving kick whereby da listener totally feels it big time.

The gradually rising pattern of the female chorus from 4.43 to 4.53 is the BUILD UP part and then they go full blast to deliver the KILL EFFECT from 4.53 to end whereby Himesh takes complete control over the listener, especially at the high peak climax point from 5.00 onwards that gives tremendous sike.

Also in the lines from 4.43 to 4.53, the KEY is Kunal's repetitive lines, KI KARA MEIN (all on one single constant note, TERRIFIC catchy) and KI KARAAAN (TERRIFIC catchy quick twist).

Highlights of this song:

1. Kunal's vocals with soothing feel and Hema's penetrating low pitch ALTO vocals.

2. The chillax laidback male vocals, Jayesh's feel good croons and soothing female vocals (HISTORY at end).

3. The catchy underlying beat pattern that has an emotional appeal, deadly techno bazz sound in mukhda, feel good guitar riffs and majestic chime effect.

4. Terrific two key tune sur (normal note followed by higher note) from 0.31 to 0.32, 0.47 to 0.48, 0.54 to 0.55 & 1.13 to 1.14 which is genious stuff by a musician who is a master of his art.

5. Mesmerizing whistle-type flute piece, well structured tune pattern and techno phone line tone with computerized quick skip effect between stanza gaps

This song is full of Himesh's typical unique melody which in essence is his core trademark signature stamp.

Typical unique HR melody means that no other composer can dare dream of composing such notes.

The listener must be kidding if they haven't heard this song till date as it is one of Himesh's best ever pre-ABA melodies.

If the listener did not like it at first instance, then give it time to grow because once you get hooked, it will be forever.

This song has its own sound and requires its own zone, therefore isolate it from other songs and play it in repeat mode at full blast for the melody to sink in.

If the listener still didn't feel anything or didn't get hooked on, then there is a big problem because not liking this song is like not liking Himesh's hard core typical unique melody because things don't really get any better or business end than this!

Vaada Yeh Tera

Pre-ABA, Alka used to be a household name for melodious love duets and seldom used for 'in da house' numbers, therefore this song was a rarity.

The song begins with feel good female croons followed by a groovy tune effect.

The calypso beat kicks in from 0.33 onwards along with a groovy tune that plays intermittently in between Alka's vocals.

Jayesh croons with bindaas vocals from 0.48 to 1.07

Alka's mukhda lines VAADA YEH TERA VAADA remind of the tune of mukhda lines VAADA HAI YEH in VAADA TITLE TRAX as they have haunt effect.

Himesh uses his repetitive hooks in lines VAADA * 3 from 1.26 to 1.28, 1.45 to 1.47 & 2.11 to 2.17

Alka's line NA (desperation feel) from 1.38 & 1.58

The off da hook raw drum hits from 1.41 to 1.42 & 2.00 to 2.01 were similarly used at 2.50 in KYUN KI SAD FEMALE VERSION (Alka) from KYUN KI, at 1.38 & 2.07 in DIDAVE from AABRA KA DABRA, and at 2.34 in TERE LIYE from SHAADI SE PEHLE.

Between mukhda & 1st stanza, the feel good (Arabic) tune and flute piece play that have a similarity of the tune from 2.36 to 2.51 (in between 1st and 2nd stanza) in MOHABBAT HAI MIRCHI from CHURA LIYA HAI TUMNE. This is followed by soothing female chorus.

1st stanza

Alka sings with melodious feel good vocals on a simple yet effective composition pattern.

The descending tune sur from 2.46 to 2.47 is of great cause to her lines.

The flute plays from 3.07 to 3.11

Between 1st & 2nd stanza, the groovy tune plays along with heavy raw drum hit pattern followed by Jayesh's bindaas croons. The fast paced matka beat effect from 3.55 to 3.55 was used from 0.22 to 0.23 in ASSALAM VAALEKUM from AKS – THE MOVIEE.

Alka sings with melodious feel good vocals on a simple yet effective composition pattern.

The descending tune sur from 4.13 to 4.14 is of great cause to her lines.

The flute plays from 4.34 to 4.37

Highlights of this song:

1. Alka's melodious feel good vocals.

2. The underlying beats with techno effect and calypso beats (especially in semi-plugged mode).

3. The 2 raw drum hits that give sahi desired effect, flute piece, groovy tunes, descending tune sur in stanzas.

4. The soothing female chorus, feel good female vocals and Jayesh's bindaas croons.

Poocho Na Kya Hoti Hai

Himesh ropes in pankaj udhas to cater to the taste of specific segment of ghazal lovers.

Himesh – the composer has the versatility to compose in different genres and he should do that little bit more often than just some exceptions.

The starting household string based "instrument" (with an inherent twist) was used in start of songs like KABHI NA SUKUN (KOI AAP SA) and MERI NAS NAS MEIN TUM HO(DIL NE JISE AAPNA KAHA).

It is the theme piece in essence and also the USP of the song.

The underlying beats have a gentle dose of tabla and laidback pattern.

The synthetic tune from 0.12 to 0.17 sets the undertone of the mukhda.

Pankaj udhas sings in his trademark shairyana andaz.

The other USP of the song is the fast paced tabla beat pattern from 1.30 to 1.35 (especially from 1.34 to 1.35 that have a profound classical touch) and the theme piece that follows gives the complete effect.

Between mukhda and 1st stanza, jingle chimes play followed by harmonica tune pattern and classical Indian instrument and traditional tune. The classical tabla pattern behind these tunes is good. The combined effect of fast tabla beats followed by theme piece gives a subtle kick.

Between 1st and 2nd stanza, the oriental flute plays followed by a likeable tune pattern. The theme piece is back.

1st and 2nd stanzas

Himesh returns to his old age formulas of repetitive hook pattern in the entire stanza lines.

He also used the repetitive pattern (not the tune) style in stanzas of SISAK SISAK KE (KARZZZZ).

It is laid back melody sung with feel good vocals, as one would expect in a shairyana ghazal.

The matka beats from 3.26 to 3.36, 4.59 to 5.09 give a traditional Indian feel.

The string based theme piece plays prolonged towards the end because that is the only signature tune and element that is typical of HR, otherwise the treatment of song is unlike HR.

Highlights of this song:

1. The combined effect of Himesh's signature string tune (theme piece) and fast paced classical tabla beat pattern.

2. Pankaj Udhas ji's shaiyarana andaz.

3. The gentle laidback beats, synthetic tune that sets the undertone, matka beats, jingle chimes and oriental flute that maintain the soft nature of this song.

Good experiment by Himesh which should appeal to musical purists.

There is never any harm to win over the elite music group albeit in smaller minority.

My Picks

1. Ki Kara Mein Ki Kara (Duet).

The song begins with a catchy repetitive tune piece on a constant note along with underlying bazz sound, joined in by a techno bazz instrument that rubs across from 0.05 to 0.11 to build sike. KK's feel good croons WOOOOW (typical unique HR melody) from 0.15 to 0.16 & 0.21 to 0.22. Two rising keys from 0.31 to 0.32, 0.47 to 0.48 and so on give terrific tune sur. Hema's lines, KIII (HISTORY quick emphasis twist) at 1.24, KAR-AAAA (HISTORY twist) from 1.24 to 1.25. The cute flute piece in between 1st stanza gap, with emphasis from 1.42 to 1.43 which is overall catchy. Terrific subtle female chorus kick in from 2.28 to 2.36 & 4.03 to 4.11 in both stanzas, KK's lines in both stanzas from 2.36 to 2.47 & 4.12 to 4.21 have OFF-DA-HOOK typical unique HR melody. KK's line, KI (HISTORY vocals) at 4.35, ME (HISTORY feel good higher note) at 4.39. Himesh reserves the best for last. HISTORY gradually rising female chorus kicks in from 4.43 to 4.53 followed by HISTORY fulltu high-pitched from 4.54 to end along with Kunal's catchy mukhda tag lines that take the song to an altogether higher level.

2. Ki Kara Mein Ki Kara (Male).

3. Poocho Na, Shaayar Shaayar & Vaada Yeh Tera Vaada (tie)

Poocho Na

Himesh ropes in the Shayari maestro Pankaj Udhas. The instrumental USP of song is the catchy feel good theme piece with inherent twist (a household instrument used countless times in pre ABA era) from start to 0.11 and used intermittently throughout and the fast paced tabla hit pattern from 1.32 to 1.36 & 2.45 to 2.50 and so on that catches the listeners classical pulse. The synth techno sound from 0.12 to 0.17 is off-da-hook catchy. The underlying dholak hits have a reverse skip pattern. Majestic chime effect from 2.07 to 2.12 is followed by a groovy tune 2.12 to 2.23 and a likable tune piece from 2.23 to 2.33 followed by an Indian folk tune from 2.33 to 2.45 in between 1st stanza gap. The oriental flute piece plays from 4.02 to 4.12 in 2nd stanza gap. It comes across a gentle pleasant feel good melody to the ears.

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