anjaane

Music review analysis of Himesh Reshammiya's album Anjaane - The Unknown (2005).

Kis Kadar Female

The song starts with the theme piece tune pattern in unplugged followed by Jayesh Gandhi's casual croons along with matka beat effect.

He fully expresses himself in line yeh rishTEEEEE (high pitch vocals with echo effect) from 0.29 to 0.34

The full beats kick in from 0.41 onwards followed by theme piece and Jayesh's croons.

The cunning funky sound Instrument from 0.49 to 0.51, faintly resembles the one used at 1.01, from 2.04 to 2.05, 3.29, 3.48, 3.53 & 3.57 to 4.00 in NA NA NA RE from BARDAASHT and in YE LADKI from MAINE PYAAR KYUN KIYA at 2.01 to 2.02, 2.17 to 2.18, 3.12 to 3.14 & 3.28 to 3.29 to create a similar overall effect.

Alka's line BATAAYE (feel twist) from 1.14 to 1.15 & 1.31.

Alka sings with melodious feel vocals on a feel good mukhda tune and is complimented by the feel good harmonica tune and the theme piece tune.

The whoosh effect is used at desired places in mukhda lines.

The descending chime effect from 1.27 to 1.30, 3.00 to 3.02 & 4.41 to 4.44 was similarly used from 2.26 to 2.28, 2.58 to 3.00 & 3.45 to 3.47 from TUNE DI BEKARARI from BLACKMAIL.

Between mukhda and 1st stanza, the feel good harmonica tune plays followed by jayesh's croons, theme piece and groovy female whispers ANJAANE.

1st stanza

Alka sings with melodious feel vocals on a simple haunt effect which is enhanced by tune sur from 2.37 to 2.42

Between 1st and 2nd stanza, a tune pattern plays with haunt effect followed by Jayesh's desperation croons, female chorus and groovy female whispers ANJAANE.

2nd stanza

Alka sings with melodious feel vocals on a simple haunt effect which is enhanced by tune sur from 4.19 to 4.23

Alka's line KAISE HAI (feel twist) from 4.12 to 4.13 & 4.27 to 4.28

The quick groovy flute pattern at 4.33 was also similarly used at 1.14 & 1.44 in IMLI IMLI from BLACK MAIL.

A trumpet (not the pattern but instrument) plays from 5.15 to 5.22, was also used from 0.05 to 0.24 in AISA DEEWANA from DIL MAANGE MORE.

The song ends with Jayesh's desperations croons.

Highlights of this song:

1. The theme piece, feel good harmonica tune, descending chime effect, matke beats effect, haunt tune sur in stanzas and underlying beats.

2. Alka's melodious feel vocals, Jayesh's desperation croons, female chorus and groovy female loud whispers.

De Do Re De Do

The song starts with a groovy bazz sound followed by seductive subtle female vocals along with peppy beats.

The naughty cheeky female vocals AI YAI BABY from 0.43 to 0.45 was similarly used in between 0.28 and 0.43 in I LOVE U FOR WHAT U R from AAP KI KHATIR.

The tune from 0.30 to 0.44 is well structured.

From 0.45 to 1.00 & 1.38 to 1.53, jayesh croons with feel good vocals.

Sunithi croons the mukhda lines with feel good vocals and is complimented by soothing feel good female chorus to enhance the overall melodious effect, especially from 1.24 to 1.30 & 2.10 to 2.16

The beat skip effect from 1.06 to 1.08 & 2.14 to 2.16 was similarly used from 1.53 to 1.54 and 2.26 to 2.27 in DIL LAGAYENGE from SLBB.

The continuous descending harmonica tune piece from 1.31 to 1.37 & 1.53 to 2.01 adds a groovy touch.

Between mukhda and 1st stanza, a synthetic instrument plays followed by feel good vocals.

1st stanza

Sunithi croons with feel good vocals with a little haunt groove touch on a simple tune.

The stanza in initial stages can actually be related to the stanzas of ISHQ TEEZAB from INSAN.

The feel good female chorus accompany Jayesh's croons with emphasis on line SAATHIYA (soothing feel good) from 3.11 to 3.12

Between 1st and 2nd stanza, the well structured feel good tune pattern plays.

2nd stanza

Sunithi croons with feel good vocals with a little haunt groove touch on a simple tune.

The stanza in initial stages can actually be related to the stanzas of ISHQ TEEZAB from JULIE.

The feel good female chorus accompany Jayesh's croons with emphasis on line SAATHIYA (soothing feel good) from 4.23 to 4.24

Sunithi is complimented well by Jayesh's croons and female chorus until the end.

Highlights of this song:

1. Sunithi's feel good vocals, soothing feel good female chorus, cheeky naughty female vocals and Jayesh's casual feel good croons.

2. The peppy underlying beats, the beat skip effect and the groovy descending harmonica tune pattern.

This falls into the B grade 'in da house' stage numbers and can be related to songs like RAIN RAIN (INSAN) and ISHQ TEZAAB (JULIE), SOORAT PE PYAR AAVE (FOOTPATH) & IMLI IMLI (BLACKMAIL).

Mind you, these songs have their own FEEL GOOD RHYTHMIC MELODIOUS charm.

Ishq Hai

The starting string based instrument (with inherent twist) has also been used in beginning of songs like KABHI NA SUKUUN AAYA from KOI AAP SA and MERI NAS NAS MEIN TUM HO from DIL NE JISE AAPNA KAHA.

The flute piece is simply lovely from 0.19 to 0.30 followed by soothing female chorus croons OH MAHI RE.

The 3 lazy drum hits at 0.42, 1.17, 1.45 provide sahi desired effect.

Alka's OOOOO (twist) from 0.49 to 0.50, 1.24 to 1.25 is melodious.

The additional female chorus ISHQ HAI behind Alka's and Udit's lines and rising pattern OOOO in between gives great overall melodious effect.

Udit's line HAAAAAAI (soothing feel down twist) from 1.42 to 1.43

Udit's OOOOO (twist) from 1.53 to 1.54, 1.24 to 1.25 is melodious.

Between mukhda and 1st stanza, the string theme piece returns followed the soothing female chorus is back at work again with emphasis from 2.22 to 2.24 followed by mesmerizing flute piece.

1st stanza

The fast tabla beats from 2.34 to 2.36 give good effect.

The composition has laidback melody with emphasis on TUMSE THODA PYAR, MERE DIL KO KARAAR.

The flute piece in between is great.

Udit's lines are also very typical déjà-vu traditional old styled.

Between 1st and 2nd stanza, a likeable piano pattern plays followed my melodious Alka and female chorus croons. The synthetic string-come-mandolin type piece from 3.57 to 4.07 along with intermittent flute is just lovely.

2nd stanza

The fast tabla beats from 4.08 to 4.10 give good effect.

The composition has laidback melody with emphasis on JAANE KE BAAD, BAS TERI YAAD.

The flute piece in between is great.

Udit's lines are also very typical déjà-vu traditional old styled.

In the end, the soothing female chorus behind Alka's vocals along with lovely flute provide a scintillating effect.

Highlights of this song:

1. The underlying traditional styled beats, 3 lazy tabla hits and fast paced tabla beats at start of each stanza, synthetic string-come-mandolin piece, mesmerizing flute and the string theme piece.

2. Udit's soothing vocals, Alka's melodious vocals and soothing female chorus.

This is the best song of Anjaane – The Unknown that was co-incidentally also unknown as an Album.

Mummy Cool Cool

HR ropes in kids to have fun in his music room.

The tune pattern from start to 0.36 is well structured and it is sung in innocent sweet manner.

The tune from 0.08 to 0.20 adds a funny touch.

The majestic jaadugar vocals from 0.23 to 0.36 were similarly used from 0.56 to 1.07, 2.03 to 2.12 & 4.56 to 5.14 in TARA RUM PUM from AABRA KA DABRA.

The feel good vocals kick in from 0.36 to 0.51 and the violin tune pattern from 0.44 to 0.51 is quite catchy.

The lines from 1.00 to 1.19 are sung with innocence and lyrics add a feel good hilarious touch.

The jingle chime effect from 1.11 to 1.19 is likeable.

Jayesh joins in the fun from 1.20 to 1.27 by crooning the mukhda tag lines in feel good vocals.

Between mukhda and 1st stanza, the likeable jingle chimes are back along with mischievous whistle.

1st stanza

The lyrics are what the kids can associate with, relate to and what they crave for. They tell their side of story.

The funky horn adds to the bindaas feel good mood.

HR uses his catchy repetitive hooks from 1.49 to 1.53

The remaining vocals are feel good on simple melody.

Between 1st and 2nd stanza, a harmonica piece plays followed by innocent croons and mouth organ. The majestic jaadugar sound effects from 2.35 to 2.40 were similarly used from 0.56 to 1.07, 2.03 to 2.12 & 4.56 to 5.14 in TARA RUM PUM from AABRA KA DABRA.

2nd stanza

The lyrics are what the kids can associate with, relate to and what they crave for. They tell their side of story.

The jingle chime effect behind vocals is likeable.

The line HASANA-AAAA (lower feel good note) from 2.48 to 2.50

HR uses his catchy repetitive hooks from 2.54 to 2.50

The remaining vocals are feel good on simple melody and the funky horn adds to the bindaas feel good mood.

Highlights of this song:

1. Simple yet effective melody with hilarious lyrics sung with innocent feel good vocals.

2. The harmonica piece, catchy violin tune pattern and funky horn.

3. The pleasantly likeable jingle chimes, mouth organ & majestic jaadugar sound effects that were also used in TARA RUM PUM from AABRA KA DABRA.

4. Jayesh's feel good vocals and feel good female vocals.

This song brings the child out of HR and it can easily slip into AABRA KA DABRA.

O Soni Re

The song starts with bazz instrument and later a seductive female voice joins in.

KK arrives with his soothing vocals from 0.18 onwards, with emphasis on RE (left well abruptly) at 0.25 & 0.34

A whooshing instrument plays from 0.35 to 0.36 along with along with mast beats.

The underlying rhythmic beats and catchy theme piece tune in between 0.36 & 0.57, with emphasis from 0.45 to 0.46 remind of the underlying rhythmic beats and catchy tune from 0.28 to 0.42 in MERE NAAL from ZAMEEN, in terms of the overall pattern.

A cute tune plays at 0.48, 0.51, 0.53 & 0.56

The bazz instrument effect from 1.18 to 1.19, 1.20 to 1.21, 1.25 to 1.26 & 1.29 to 1.30 is of great cause.

KK's line AACHA NAHI gives the complete effect to mukhda lines.

The whooshing sound effect along with fast matka beats in unplugged mode 1.33 to 1.35, 3.17 to 3.19 & 4.48 to 4.50 gives sahi desired effect.

The male classical chants from 1.39 to 1.41, 1.48 to 1.50, 3.24 to 3.25, 4.54 to 4.56, 5.03 to 5.05 & 5.23 to 5.25 are of great cause.

The soothing feel good female chorus from 1.58 to 2.00 are awesome.

The fast drum-roll beats from 1.50 to 1.51, 2.10 to 2.11, 5.04 to 5.05 & 5.05 to 5.06 are of great cause.

Between mukhda & 1st stanza, a catchy feel good tune pattern plays along with faint female vocals from 2.11 to 2.20 and joined by a synthetic tune piece from 2.20 to 2.24, followed by the catchy theme piece along with intermittent cute tune.

1st stanza

From 2.34 to 2.46, KK sings with soothing feel good vocals.

The whoosh effect from 2.46 to 2.47 is of good cause.

Sapna Mukherjee's sings with feel good vocals from 2.48 onwards, with emphasis on REEEE (feel good twist) and the soothing female chorus joins in until 3.05 to give an overall soothing melodious effect.

The soothing feel good female chorus from 3.13 to 3.15 and along with KK's lines from 3.26 to 3.32 are awesome.

Between 1st & 2nd stanza, the bazz effect in unplugged mode from 3.35 to 3.36 is awesome, followed by a catchy groovy whistle tune piece and Jayesh's feel good croons, followed by the catchy theme piece along with intermittent cute tune.

From 4.04 to 4.17, KK sings with soothing feel good vocals.

The whoosh effect from 4.17 to 4.18 is of good cause.

KK's sings with feel good vocals with a deliberate twist of tongue from 4.18 to 4.35, along with soothing female chorus, with emphasis on REEEE (feel good twist).

The high pitched female haunt croons 4.25 to 4.27 & 4.34 to 4.36 are of great overall cause.

The soothing feel good female chorus in between 4.44 to 5.22 give awesome melodious sooth effect.

The catchy theme piece joins in from 5.26 and the song ends with fast drum-roll beats and whoosh effect followed by a grand thunderous sound to give an international feel, as was the case with his pre-ABA item songs to use such at the start and finish.

Highlights of this song:

1. KK's sooth feel good vocals with deliberate twist in stanza and Sapna's feel good vocals.

2. All the catchy tune pieces in between stanza gaps.

3. Soothing female chorus especially HE HO OO (awesome), female haunt croons, male classical chants and Jayesh's feel goos croons.

4. Underlying rhythmic beats, catchy theme piece, catchy groovy whistle piece, fast drum-roll beats, whoosh effect and fast matka beat effect, bazz effect and cute tunes.

This song falls in the B category of IN DA HOUSE CLUB / ITEM numbers by HR in the pre-ABA era and coupled with the fact that this album went unnoticed due to lack of promotion and unknown names didn't help its cause.

Hence, this song deserves to be lent an ear especially more so when the listener is playing a continuous play list of Himesh songs of this genre.

My Picks

1. Kis Kadar

The song has an undertone of haunt feel. It builds up tremendously from start to 0.14, The underlying tune from 0.43 to 0.53, 1.20 to 1.24, 1.37 to 1.42 & 1.54 to 1.58 is catchy. The male desperation plea croons from 3.31 to 3.50 in between 2nd stanza gap depict the tadap and pukar as if there is a mysterious crisis which is separating the lovers.

2. Ishq Hai Ishq Hai

The song begins with household pre ABA string based instrument (with an inherent twist) theme piece. The pleasantly likeable bansuri plays from 0.20 to 0.30 & 2.24 to 2.34, The female chorus in between 1st stanza gap, especially from 2.22 to 2.24, the likeable Mandolin plays from 3.57 to 4.07, A soothing groovy whistle piece plays from 3.36 to 3.55 in between 2nd stanza gap along with Jayesh's high pitched passionate feel croons.

3. O Soni Re

The theme piece from 0.40 to 0.57 is catchy. The BEST part of mukhda is line ACCHA NAHI RE (deliberate feel good emphasis) from 1.30 to 1.31, O SONI RE from 1.32 to 1.35 in unplugged mode followed by quick matka hit effect. The tune piece from 2.11 to 2.24 in between 1st stanza gap is catchy.

4. De Do Re De Ro

5. Mummy Cool Cool

While composing a song based on mothers, the CHILD out of Himesh springs out in this song, whereby Himeshji becomes naughty playful jovial Himeshji jinko studio room me masti sooj rahi thi. Woh kehte hai na ke, chahe insaan kitna bhi bada kyun na ho jaaye, lekin woh apni maa ki nazar mein hamesha bacha hi rehta hai.

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