maine_pyar_kuyn_kiya

Music review analysis of Himesh Reshammiya's album Maine Pyar Kyun Kiya (2005).

Just Chill

This is a song for the youth of today.

The song starts with sike building instruments full on energy level.

Jayesh's high pitched croons OH WOOOW from 0.07 to 0.14 are effective.

The core mukhda instrument tune followed by female vocals is simple yet catchy 0.21 to 0.43

The male shout HIT IT that is representative of da DJ in da house, along with rhythmic beats and intermittent bazz trumpet from 0.43 to 1.01 builds up da song tremendously and gets da listener into da zone.

The feel good twist in Sonu's lines SONEYA from 1.05 to 1.06

The wicked 3 key tune sur at 1.05, 1.08, 1.23 & 1.27 is representative of the mischievious antics going on in da club.

The techno whoosh effect from 1.11 to 1.13, 1.29 to 1.31 & 1.49 to 1.51 causes intermittent build up.

The female lines milaLEEEEE (twist) at 1.26 is good.

Between mukhda & 1st stanza, profound heavy African drum hits from 1.59 to 2.13 are joined in by a well structured upbeat peppy feel good tune from 2.13 to 2.27 followed by Arabian tune from 2.28 to 2.38 and rwakin retro electronika tune from 2.39 to 2.45 which is catchy like hell, with special mention of the faint tune sur at 2.45 (one sur up).

1st stanza

The underlying sound is groovy.

The female chorus gives good support to Sonu and the ALTO effect of the female vocals is good.

Himesh hits the BAZZ really good in an off-da-hook pattern from 3.01 to 3.04 & 3.12 to 3.15

The female chorus behind sonu's lines JAANIYA is great.

Between 1st & 2nd stanza, male vocals giving an impression of traditional African dancers followed by catchy sitar piece from 4.03 to 4.10, especially the faint tune sur at 4.09.

2nd stanza

The underlying sound is groovy.

The female chorus gives good support to Sonu and the ALTO effect of the female vocals is good.

Himesh hits the BAZZ really good in an off-da-hook pattern from 4.25 to 4.28 & 4.36 to 4.39

The female chorus behind sonu's lines MAHIYA (classical twist at 4.44).

The female chorus effect at 5.06 is feel good.

Highlights of this song:

1. Rhythmic peppy beats that are high on energy level.

2. Feel good vocals, female chorus, rap.

3. Bazz trumpet used as tune sur and wicked 3 key harmonica tune,beat effect and sound effect wherever mentioned above.

4. Interesting use of Arabian and classical instrument in between the stanzas.

Dil Di Nazar

This energy filled peppy song has a RETRO FEEL to it.

The fast paced drum roll beats from 0.13 to 0.14 were also used in a prolonged way in TU HAI KAMAAL from AAP KI KHATIR.

The underlying sound is GROOVY especially from 0.39 onwards.

The instrument from 0.30 to 0.38 is interesting.

The lines...you are the one for me, you are mine...and the stanzas especially with additional female chorus are very feel good.

The main HIGHLIGHT of this song is the lines in both male and female vocals...me bekhabar me besabar hai mujhko ee humsafar YAKEEN ho chala...the word YAKEEN (with quick twist) is TYPICAL UNIQUE HR MELODY.

Laga Prem Rog

From 0.09, the trumpet tune in lines laga laga laga re is great.

At 0.25, alka arrives with her melodious vocals

At 0.45, ROOOOOOOOOOO(twist)OOOOG is great

At 0.55, female vocals whisper PREM ROG

At 0.59, great keyboard tune

Great bazz trumpet at 1.15, 1.18, 1.26 and 1.28

At 1.21 to 1.24 and from 1.32 to 1.34, note the tune sur given by male vocals (Jayesh)

Kamaal khan is effective, note the bazz trumpet behind his laga laga re lines

From 2.13 to 2.16, the whistle like tune is great

1st stanza, note the additional beats from 2.30 to 2.39 (great)

From 2.40, kamaal sings in lower octave, gumshuda gumshuda, until 2.47, with great results, note also the accompanying tune sur

From low to sudden high pitch, himesh is a master of such

From 2.48, jayesh croons in high pitch wholeheartedly

At 2.59, alka's lines, kya JYO (AWESOME TWIST) OOOOG

From 3.01 to 3.05, female chorus LAGA LAGA LAGA, BAZZ TRUMPET, LAGA LAGA LAGA, BAZZ TRUMPET, is the highlight of song (awesome)

At 3.13, RE (melodious note)

Between 1st and 2nd stanza, DUBA DUBA, both jayesh and female chorus creates good impact

From 3.31 to 3.38, an great ARABIC beat plays

From 3.39, the bazz trumpet gives lot of sike

2nd stanza

Note the additional beats from 3.56 to 4.05 (great)

From 4.06 to 4.13, kamaal sings in lower octave with great results, also note the accompanying tune sur

From 4.14, Jayesh croons in high pitch wholeheartedly

Now it is kamaal khan's turn to croon liya bechani ka rog (good effect)

At 4.51, awesome piano tune keys

The highlight of the song returns from 5.05 to 5.09, female chorus LAGA LAGA LAGA, BAZZ TRUMPET, LAGA LAGA LAGA, BAZZ TRUMPET

Note the strong TUNE SUR at 5.14 to 5.15

From 5.22 to end, the soothing female vocals LAGA LAGA LAGA, female chorus UUU UUU UUU just speak for themselves

Highlights of this song:

1. The trumpet that plays in the tune of laga laga laga re.

2. Alka yagnik's vocals (jyooog, re) and kamaal khaan's lower octave vocals.

3. The tune sur wherever mentioned.

4. Jayesh gandhi's high pitched croons in the stanzas.

5. The female chorus on lines LAGA LAGA RE (along with bazz trumpet) and UUUU UUUU right at the end.

Ishq Chunariya

The word chunariya and HR-Sameer combo have long association way back so basically they cannot help themselves from using it again.

The traditional tune from 0.20 onwards starts on a very good sur/pitch.

A similar pattern of the heavy tabla beats from 1.08 to 1.09, 1.29 to 1.03 were used in song DIL DE BADLE SANAM from KYUN KI in between 2.21 to 2.22, 2.57 to 2.58.The idea for the sahi desired effect was the same.

Frankly speaking , the mukhda lines from 0.41 to 0.50 is heard previously in other non-HR songs.

The female chorus crooning ISHQ CHUNARIYA is feel good.

The tune sur at 1.01, 1.42 is good.

The tabla beat pattern from 1.17 to 1.24 gives good effect to Alka's lines.

Between mukhda and 1st stanza, the feelgood female chorus croon ISHQ CHUNARIYA.

1st stanza

The tabla beat pattern from 2.21 to 2.22 was also used in KYON KI (3.10 to 3.11, 4.32 to 4.33), DIL KE BADLE SANAM (3.00), MERI NAS NAS MEIN TUM HO (2.55, 4.04).

The quick rising tune sur at 2.24 and descending tune sur from 2.27 to 2.29 is great.

Alka's lines from 2.30 to 2.39 are melodious especially NAAM, LE with slight twist.

The descending keyboard flick from 2.49 to 2.50 was similarly used in KYUN KI ITNA PYAR TUMKO from 5.11 to 5.12

The female chorus AAA from 2.54 to 2.55, 3.04 to 3.05 is effective.

Between 1st and 2nd stanza, the female chorus do their thing

2nd stanza

The tabla beat pattern from 3.43 to 3.44 as described in 1st stanza.

The quick rising tune sur at 3.46 and descending tune sur from 3.50 to 3.52 is great.

Alka's lines from 2.30 to 2.39 are melodious.

The descending keyboard flick from 4.11 to 4.12 was similarly used in KYUN KI ITNA PYAR TUMKO from 5.11 to 5.12

The feel good female chorus end the song along with Alka's vocals

Highlights of this song:

1. Feel good female chorus.

2. The heavy tabla beats, the tabla beat pattern at start of stanzas and rising/descending tune sur along with KYUN KI ITNA PYAR keyboard fiick in stanzas.

Sajan Tumse Pyar

The starting tune pattern is catchy followed by female chorus.

The intermittent tabla beat effects are great.

The male chorus crooning HEEEEAAAAA from 0.25 to 0.26 are awesome and give bit of sike.

Once again the male chorus, fast tabla beats and tune sur from 0.51 to 0.52 give great overall effect.

The female chorus from 0.56 to 1.02 is feel good.

Udit’s line JAANAM at 1.02, 1.08 and AKEEEEELA (prolonged emphasis) at 1.25 is nice.

Between 1st and 2nd stanza, the tune pattern has traced of old HR the composer and traces of unique typical HR melody.

1st stanza

The tabla beats from 1.56 to 1.57 have been also used in KYON KI, DIL KE BADLE SANAM, MERI NAS NAS MEIN TUM HO at same parts.

The melody is simple and effective.

The flute piece from 2.09 to 2.10 is pleasant.

Between 1st and 2nd stanza, a raga instrument plays followed by lovely piano piece and shortened flute piece.

2nd stanza

The tabla beats from 3.04 to 3.05 have been also used in KYON KI, DIL KE BADLE SANAM, MERI NAS NAS MEIN TUM HO at same parts.

The flute piece from 3.17 to 3.18 is pleasant.

Highlights of this song:

1. The mast free-flowing underlying beats.

2. The fast tabla beats that give sahi desired effect, piano tunes and flute piece in stanzas.

3. The feel good female chorus and male vocals HAAAAI that give bit of sike.

4. The tune piece between mukhda and 1st stanza that has traces of old HR the composer near his debut days.

Ye Ladki

This song is all about rhythmic feel good melody.

It reminds of the Saawariya days also because the same singer Kamaal Khan is used.

The song starts with a funky techno sound.

Kamaal's lines from 0.11 to 0.19 are very catchy along with an underlying groovy retro sound and 2 key tune sur that changes notes.

Sunidhi's, Kamaal's and female chorus lines WANNA SPEND THE REST OF MY LIFE WITH U OH SANAM form typical old school HR melody hooks and the groove effect is great.

The tune from 0.36 to 0.45 is catchy along with tune sur followed by underlying lively rhythmic beats.

The church organ plays in between 0.50 & 0.55

A catchy funky guitar with twists plays from 1.01 to 1.02 gives completeness effect to Kamaal's preceeding lines.

Between mukhda & 1st stanza, feel good male vocals from 1.22 to 1.26 that remind of those used from 0.00 to 0.09 in BOYS ARE BEST from CHURA LIYAA HAI TUMNE is followed by a bright peppy tune piece followed by the combo of church organ and seductive female chants AAH from 1.37 to 1.46

1st stanza

It is simple yet catchy composition.

The catchy bright peppy tune with quick higher note keys at 1.49 followed by quick lower note keys 1.51 that give some kick is the BUILD UP part which is followed by the KILL effect with OFF-DA-HOOK CULT quick catchy guitar flick (with inherent twist) at 1.52, that belongs to the same set of guitar used for the HISTORY tune from 2.52 to 2.53 & 2.56 to 2.57 in OODHNI from TERE NAAM.

Sunithi's and Kamaal's feel good lines from 1.52 to 2.11 are hummably catchy, with emphasis on line BOLE (awesome halke se feel twist) at 2.03

The cunning funky tune from 2.01 to 2.03 that was similarly used from 2.04 to 2.06, 1.01 to 1.02 and in between 3.48 & end in NA NA NA NA RE from BARDAASHT gives completeness effect to Sunithis's preceeding lines.

The additional beats on Kamaal's lines from 2.02 to 2.10 give sahi desired effect.

The church organ plays in between 2.06 and 2.12

Between 1st & 2nd stanza, a bright peppy tune piece plays along with an underlying beat that hits it 'hard and sharp' from 2.29 to 2.48, followed by a feel good catchy tune and lively vibrant rhythmic beat along with intermittent Arabian guitar flicks from 2.29 to 2.58 

2nd stanza

It is simple yet catchy composition.

The catchy bright peppy tune with quick higher note keys at 3.00 followed by quick lower note keys 3.02 that give some kick is the BUILD UP part which is followed by the KILL effect with OFF-DA-HOOK CULT quick catchy guitar flick (with inherent twist) at 3.03, that belongs to the same set of guitar used for the HISTORY tune from 2.52 to 2.53 & 2.56 to 2.57 in OODHNI from TERE NAAM.

Sunithi's and Kamaal's feel good lines from 3.03 to 3.22 are hummably catchy, with emphasis on line BOLE (awesome halke se feel twist) at 3.15 

The cunning funky tune from 3.12 to 3.14 that was similarly used from 1.01 to 1.02, 2.04 to 2.06, 3.29 and in between 3.48 & end in NA NA NA NA RE from BARDAASHT gives completeness effect to Sunithi's preceeding lines.

Sunithi's lines are also bindaas.

The additional beats on Kamaal's lines from 3.13 to 3.26 give sahi desired effect.

The church organ plays in between 3.18 and 3.23

The song ends with the feel good female vocals.

Highlights of this song:

1. The CULT tune (with inherent twist) at 1.51 & 3.03 is simply OFF-DA-HOOK and best part of this song.

2.  The underlying lively rhythmic beats, groovy retro sound at start, church organ, catchy bright peppy tune (higher note) followed by lower note) in stanzas, cunning funky sound in stanzas, feel good bright peppy tunes in stanza gaps that enhance da feel good factor.

3. Kamaal Khan's feel good vocals and Sunithi's bindaas vocals.

4. Feel good female vocals.

5. Catchy repetitive english hooks that follow Himesh's old styled recipe used in pre-ABA item numbers.

Teri Meri Love Story

This song is very similar to MAUSAM HAI BADA QATIL from CHUP CHUP KE in terms of composition pattern of mukhda and underlying peppy beats, just in bits and not in entirety.

The song starts with a waltz feel.

The underlying beat kicks in from 0.07 onwards and it is rhythmic and peppy.

Shaan, sunithi and babul croon with feel good vocals on a simple mukhda composition pattern.

The subtle faint female chorus and continuous groovy sound in between is used to good effect.

Between mukhda and 1st stanza, a feel good trumpet plays along with clap effect, later joined in by full beats.

1st stanza

The composition pattern is simple.

The feel good female chorus is used to good effect.

Lyrics interestingly rhyme.

Between 1st and 2nd stanza, a feel good tune plays along with underlying metal guitar followed by female chorus croons.

2nd stanza

The composition pattern is simple.

The feel good female chorus is used to good effect.

The song finishes on a subtle note with a synthetic tune.

Highlights of this song:

1. Shaan, Sunithi & Babul's feel good vocals.

2. The underlying peppy beat, soothing feel good female chorus and continuous groovy sound.

3. Simple lyrics that rhyme which is a specialty of Sameerji.

This is a peppy feel good melody.

My Picks

From dance / club tracks:

1. Yeh Ladki n Just Chill [tie]

Yeh Ladki

BEST PART of song is the catchy bright peppy tune with quick higher note keys at 1.49 & 3.00 followed by quick lower note keys 1.51 & 3.02 that give some kick is the BUILD UP part which is followed by the KILL effect with OFF-DA-HOOK quick catchy guitar flick/riff (with inherent twist) at 1.52 & 2.53 catches the listeners pulse, CULT stuff this!

 

Just Chill

The male shout HIT IT from along with rhythmic beats and intermittent bazz trumpet from 0.43 to 1.01 builds up da song tremendously and gets da listener into da zone. The rwakin retro electronika tune from 2.39 to 2.45 is catchy like hell. Himesh used Arabian elements from 2.28 to 2.38 in between 1st stanza and Indian elements (sitar piece) from 4.03 to 4.10 in between 2nd stanza gap. Himesh hits the BAZZ really good in an off-da-hook pattern from 3.01 to 3.04 & 3.12 to 3.15 in 1st stanza, from 4.26 to 4.29 & 4.36 to 4.39 in 2nd stanza. BEST melody in song is Sonu's line SONEYA (catchy twist) DIL SE MILAALE DIL from 1.05 to 1.09 & Amrita Kak's line BERIYA DIL SE MILAALE DIL from 1.20 to 1.27

2. Dil Di Nazar

From love ballads:

1. Laga Prem Log

2. Sajan Tumse Pyaar Ki Ladai Mein

3. Ishq Chunariya

4. Teri Meri Love Story

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