kyon_ki

Music review analysis of Himesh Reshammiya's album Kyon Ki...Its Fate! (2005).

Kyon Ki Itna Pyar

The song begins with a mouth organ piece followed by piano keys.

Udit sings with subtle soothing vocals in the build-up part of the song.

The beat effect from 1.01 to 1.03 was similarly used (with a faster tempo) from 1.34 to 1.35 & 2.00 to 2.01 in OOH LA LA RE from TAARZAN - THE WONDER CAR.

The underlying beats are laidback and custom made for a love duet.

The household female chorus does their thing from 1.15 to 1.25

The tune sur at between 2.03 to 2.12 is critical to enjoy the mukhda lines.

Alka makes a melodious impact with lines ITNA, KARTE, KYA JAAN LOGE.

Between mukhda & 1st stanza, the female chorus cast their spell.

1st stanza

The fast paced tabla beats from 3.10 to 3.12 give a tremendous head start to the stanza.

The repetitive tune pattern is very effective and catchy. Remember the stanza pattern of ABA!

Emphasis on Alka's lines CHAAHAT, BHULAYA, DIL KO

The tune sur from 3.34 to 3.44 is the key to enjoy the stanza.

Between 1st & 2nd stanza, the combination of classical raga and female chorus is awesome along with very good tune sur from 4.29 to 4.31

2nd stanza

The fast paced tabla beats from 4.32 to 4.34 give a tremendous head start to the stanza.

Pinching melody at 4.34, TUMI SE.

Soothing vocals at 4.48, TUM HARE.

The tune sur from 4.56 to 5.05 is the key to enjoy the stanza.

Pinching melody from 5.00 to 5.05

The keyboard flick from 5.10 to 5.11 is awesome.

More pinching melody from 5.32 to 5.35 and from 5.38 to 4.00. Strong statement!

The song finishes on a subtle note in the similar manner in which it started with the mouth organ.

Highlights of this song:

1. Udit's soothing vocals and alka's pinching melodious vocals.

2. The tune sur wherever mentioned, soothing female background chorus, raga instrument.

3. The fast paced tabla beats and the mouth organ to an extent for the feel factor.

In short, this song is a 'slow and steady' lambi race ka ghoda!

Tera Jism Oodhlu

The song commences with a catchy mouth organ in unplugged mode along with Siemens ring tone.

Kunal sings with lot of feel and passion, with emphasis on his lines YEEEAAAAHAAI (passionate croons) from 0.25 to 0.27, WOOOHOOOO (passionate croons) from 0.32 to 0.34 & 0.49 to 0.50

Kunal's line, JODHLU (awesome halke se feel) from 0.30 to 0.32 & 1.35 to 1.36

The underlying youthful peppy rhythmic beats kick in from 0.53 onwards along with a feel good guitar tune piece.

The intermittent raw female vocals at 1.00, 1.10, 1.16, 1.28 & 2.15 build up the song.

The catchy mouth organ theme piece from 1.12 to 1.22 & 1.25 to 1.28 is mesmerizing and it is used intermittently throughout the song (also as tune sur).

The bazz trumpet at 1.37 & 2.05 is darn effective.

From 1.51 to 1.52, the beat in unplugged mode followed by START-STOP gap and a whooshing sound (1.55) and 4 quick additional beats (1.57 to 1.58) is awesome.

Between the mukhda & 1st stanza, the catchy mouth organ theme piece from 2.17 to 2.27 is joined in by soothing female chorus from 2.29 to 2.36

1st stanza.

From 2.35 to 2.37, the swoosh sound gives awesome effect.

From 2.38 to 2.39, the quick drum beats give a good kick-start.

The YEAHAAI and harmonica tune sur do a great job.

The soothing female chorus make their presence felt from 2.51 to 2.54 and the female vocals NA NA NA from 2.55 to 2.56 really enhance the feel-good nature of this song.

Kunal's line, MODHLU (awesome halke se feel) from 3.06 to 3.07

Between 1st & 2nd stanza, Himesh gives liberty to Kunal to express himself and make things even more peppier by crooning UUM UUM HA CHIK...followed by west-indian raw female vocals and lovely mesmerizing oriental flute from 3.38 to 3.38

2nd stanza

From 3.46 to 3.48, the female voice followed by swoosh sound gives awesome effect.

From 3.50 to 3.51, the quick drum beats give a good kick-start.

The soothing female chorus make their presence felt from 4.03 to 4.07 and the female vocals NA NA NA from 4.07 to 4.08, TA RA RAAAAAA from 4.15 to 4.21 really enhance the feel-good nature of this song.

Kunal's line, TODHLU (awesome halke se feel) from 4.18 to 4.19

Kunal's line, TERA (OFF-DA-HOOK passionate feel twist) JISM OODHLU from 4.26 to 4.28 is BEST SUNG part of song.

The whoosh sound behind the lines, JISM OODHLU (interesting double-meaning lyrics) gives an awesome effect.

The song finishes off with the catchy mouth organ theme piece and the amazing whoosh sound.

Highlights of this song:

1. Kunal's singing with full of passion and feel.

2. The underlying youthful rhythmic peppy beat, the catchy mouth organ theme piece, Siemens ring tone at start, the bazz trumpet, mesmerizing oriental flute in between 2nd stanza gap, additional heavy beats wherever mentioned and the whoosh sound.

3. The soothing female chorus UUUUU, feel good female croons NA NA NA...TA RA RAAAAAA and the raw West Indian type female vocals that give tremendous support / build up

To sum it up, this is a VERY REFRESHING FEEL GOOD song.

Dil Ke Badle Sanam

Mr. Himesh used the same formula of Kyon ki itna pyar tumko in this song (notably female chorus, fast-paced heavy beats in mukhda, fast paced tabla beats in beginning of stanzas and the raga tune pattern in between 1st and 2nd stanza.

After all, what is the problem in repeating a sure-shot hit recipe formulated by Himesh himself and add a little feel to it! Smart boy!

The song begins with laidback beats and a groovy ambient sound that fades in and out, joined in by a pleasant mesmerizing bansuri piece from 0.06 to 0.21 with intermittent bazz trumpet hits.

Off-da-hok fast paced heavy dhol beats from 0.21 to 0.22 kick-start the underlying free-flowing beats.

The female chorus with feel factor joins in from 0.22 to 0.45 to build up the song.

The fast paced tabla beats from 0.57 to 0.58 & 1.19 to 1.20 is gives intermittent kick.

Udit's line, de CHUKEEEE (profound desperation plea twist) from 1.02 to 1.03 & 3.56 is great.

Alka's lines, DARD-E (striking melody) at 1.10, DIL (striking melody) at 1.12

 Between mukhda & 1st stanza, the feel good chorus with feel factor return from 1.30 to 1.40 followed by an elec piano piece from 1.41 to 1.51 that sounds like jingle chimes.

1st stanza

The fast paced tabla beats from 1.53 to 1.54 kick-start the stanza.

The whole stanza is likeable.

The cute bansuri piece from 2.00 to 2.02

In between 1st & 2nd stanza, the 'band-baraat' tune plays from 2.30 to 2.50 along with profound rhythmic dholak beats, followed by OFF-DA-HOOK quick heavy drum hits from 2.51 to 2.52 and terrific emotional feel raga tune from 2.53 to 2.58

2nd stanza

The fast paced tabla beats from 3.00 to 3.01 kick-start the stanza.

Alka's lines, PYAAR TUMSE HI KAR CHUKE, HUMTO TUM SE HI MAR CHUKE from 3.21 to 3.26 are the best lines in terms of melody from both the stanzas.

Alkas line, DE CHUKE (terrific halke se desperation plea) from 3.26 to 3.27 is heart-warming.

The song ends with female feel chorus.

Highights of this song:

1. Alka's melodious vocals with pinch on DARD-E and DIL and halke se desperation plea vocals in DE CHUKE wherever mentioned, Udit's subtle feel vocals with profound desperation plea twist in dechuKEEEEEE wherever mentioned.

2. Underlying free-flowing rhythmic beats, heavy dhol beats in mukhdas and fast paced tabla beats in beginning of stanzas.

3. The mesmerizing bansuri piece, elec piano in between 1st stanza gap, terrific emotional feel raga tune in between 2nd stanza and female feel chorus.

It is a heart warming melody with feel factor.

Jhatka Maare

Kailesh Kher begins this song in unplugged vocals along with male and female vocals.

The sounds from 0.32 onwards are as if someone is hitting pots and pans with spoons.

A traditional fold tune plays from 0.56 onwards.

The whoosh sound followed by start-stop gap followed by full on beat and fast paced tabla pattern from 1.09 to 1.16 is great.

The mukhda lines are hummable.

Udit's lines SARAKTA-AAA (feel good twist) at 0.32, 1.56 is similar to the line HUEEE (twist) from 0.49 to 0.50, 1.44 to 1.45, 1.59 to 2.00, 3.20 to 3.21 & 4.57 to 4.58 in AHISTA AHISTA TITLE TRAX.

Udit's lines AARE RE RE RE RE is in perfect SYNC with the drum beats and the energetic HAI croons provide the energetic feel.

Frankly speaking, the prolonged RE RE from 1.38 to 1.39, 1.44 to 1.45, 2.02 to 2.04 & 2.08 to 2.10 plays the spoilsport as it get too much meaninglessly repetitive on the listener.

The traditional folk tune along with vocals from 1.44 to 1.49 & 2.08 to 2.14 is likeable.

Between mukhda and 1st stanza, traditional folk tunes play.

1st stanza

Udit sings with feel good vocals on a simple composition pattern.

The additional croons depict a crazy people in a mad house.

Between 1st and 2nd stanza, the steel utensil sounds are back followed by feel good tune and traditional tune pattern.

2nd stanza

Udit sings with feel good vocals on a simple composition pattern.

The additional croons depict a crazy people in a mad house.

The female chorus join in at the end followed by a folk tune.

Highlights of this song:

1. Udit's feel good vocals.

2. The underlying beats and traditional folk tunes.

3. Energetic male and female croons to an extent keeping the situational requirement of this song.

Kyon Ki - Version 2

The song begins with a mouth organ followed by melodious feel croons by Alka.

From 0.29 to 1.19, the beat has a haunt effect.

From 1.20 to 1.31, the chorus has feel factor.

Alka's line KARTE-EEEE (halke se voice rise) at 1.35, 1.41, 1.53, 1.59, 2.10 & 2.34 has desperation feel.

The bazz trumpet pattern from 2.27 to 2.30 has feel factor.

Between mukhda and 1st stanza, the bazz trumpet followed by chorus depicts feel factor. The 2 off da hook raw drum hits at 2.50 that give sahi desired effect were similarly used from 1.41 to 1.42 & 2.00 to 2.01 in VAADA YEH TERA VAADA from NIGEHBAAN - THE 3rd EYE, at 1.38 & 2.07 in DIDAVE from AABRA KA DABRA, and at 2.34 in TERE LIYE from SHAADI SE PEHLE. The male croons with echo effect from 3.00 to 3.03 depict tragedy.

1st stanza

Alka's sudden abrupt melodious feel vocals in unplugged mode give a kick.

The stanzas have a repetitive pattern that can be associated with repetitive trend of Aashiq Banaya Aapne.

The classical sitar from 3.12 to 3.15 and tune sur from 3.24 to 3.27 enhance the feel factor.

Alka's line KA-AA-AA-AA (up down feel twist) at 3.29, HE-EE-EE-EE (up down feel twist) from 3.34 to 3.35, KARLO-OOO (desperation feel) at 3.41

Between 1st and 2nd stanza, haunt beat pattern plays followed by sitar and underlying raw drum beat pattern followed by haunt chorus and male croons with echo effect that depict tragedy. The heavy drum roll beats from 4.28 to 4.29 are great.

2nd stanza

Alka's sudden abrupt melodious feel vocals in unplugged mode give a kick.

The stanzas have a repetitive pattern that can be associated with repetitive trend of Aashiq Banaya Aapne.

Alka's line ZINDAG-III-III (down feel twist) at 4.37 & 4.49

The traditional flute from 4.41 to 4.44 and tune sur from 4.52 to 4.55 enhance the feel factor.

Alka's line HAI-IIII (desperation feel twist) from 5.03 to 5.04, KARLO-OOO (desperation feel) at 5.10

The song ends with mouth organ in unplugged mode.

Highlights of this song:

1. Alka's melodious feel vocals, chorus with feel factor and tragedy male croons.

2. The underlying beat, the classical sitar and traditional flute.

3. The orchestration between stanza gaps that is mainly comprised of 2 raw drum hits & heavy drum roll beats.

Aa Jeele Ik Pal

Ok frankly speaking, this song should be in a Rakesh-Hrithik father son venture.

Such is the nature of the song! The fact that it is for Salman Khan is also rwaking.

Just watch how the musician flicks through the keyboard to create those mesmerizing sound as if it was a joke and a child's play.

The soothing female chorus kicks in at 0.47.

The lines...AA JEELE EK PAL ME SAU JANAM...are the core mukhda tag lines and they have a rich dose of melody.

Alka's melodious croons, LA LA LA (innocent feel) from 1.01 to 1.07

The quick cute sounding key flicks at 1.19, 1.22, 1.25,1.27, 1.29, 1.31, 1.33, 1.36 & 1.38 give good tune sur.

The 4 heavy drum beats from 1.26 to 1.27 give good feel.

Between mukhda & 1st stanza, mesmerizing keyboard tune pattern at lower notes from 1.40 to 1.47 followed by higher notes from from 1.48 to 1.56

1st stanza.

From 2.02 to 2.13, the 3 hit CUTE tune sur gives great effect in the stanza followed by flute piece.

The additional beats at 2.09 give good effect.

Between 1st & 2nd stanza, the traditional old-styled profound heavy drum skip beats that are representative of a traditional outdoor feel setting arrive for salman khan to do his thing from 2.46 to 3.13 that were similarly used from 4.38 to 4.56 in at same spot in OODHNI from TERE NAAM behind the lines MILAN KA MAUSAM AAYO RE PYAAR LEYARO RE.

The female chorus does a fine job followed by traditional banjara male vocals. The mesmerizing keyboard piece pattern plays.

2nd stanza.

From 3.27 to 3.38 the 3 hit lovely tune sur gives great effect in the stanza followed by flute piece.

The additional beats at 3.33 give good effect.

The tune sur at 3.52, 3.54 and 3.58 are critical.

From 4.08...alka's lines are pure melody...rehejAANYENGEE (striking)...RAHE NA (striking) at 4.12

From 4.16 the female chorus cast their magic followed by melodious alka vocals on mukhda lines...aa jeele ek PAL (twist) me SAU (twist)...emphasis on PAL and SAU.

Highlights of this song:

1. The lively underlying beats, the keyboard tune sur wherever mentioned is CRITICAL.

2. Alka's melodious vocals, additional heavy beats wherever mentioned, soothing female chorus.

3. Basically the listener needs to closely follow the rich musical arrangement throughout the song.

My Picks

Best songs of album, Aa Jeele Ik Pal Mein Sau Janam which could fit into any Rakesh Roshan production flick, Dil Keh Raha Hai which is catchy song and Kyon Ki which has haunting melody (esply version 2 and sad).

1. Aa Jeele Ik Pal Mein Sau Janam, Dil Keh Raha Hai & Kyon Ki Itna Pyar (all versions) - TIE

Aa Jeele Ik Pal Mein Sau Janam

This song could have fit into any Rakesh Roshan production flick.

Dil Keh Raha Hai

The catchy mouth organ theme piece used intermittently throughout the song. The underlying beat that comes to suden abrupt halt followed by start-stop gap followed by whoosh sound, intermittently throughout the song gives great overall effect. Kunal's lines, JODHLU (awesome halke se feel) from 0.30 to 0.32 & 1.35 to 1.36, TODHLU (awesome halke se feel) from 4.18 to 4.19, MODHLU (awesome halke se feel) from 3.06 to 3.07. The soothing female chorus make their presence felt in between 1st stanza gap from from 2.29 to 2.36 and in both stanzas from 4.03 to 4.07 and from 2.51 to 2.54. Kunal's BEST LINES in the song are TERA (OFF-DA-HOOK passionate emphasis feel twist) JISM OODHLU from 4.26 to 4.28

Kyon Ki Itna Pyar (all versions)

2. Dil Ke Badle Sanam

3. Jhatka Maare

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