Music review analysis of Himesh Reshammiya's album Silsilay (2005).
Ban Jaaiye
The starting is so feel-good i.e wowwouuuwwwowow, yeaah yeeayeeeah.
From 0.16 to 0.23, har (feel) taraf RAAABAAA (up down up down twist is great) AAAAAAA aap KA (feel twist).
From 0.30 to 0.33, dilKOOOOO (up down up down twist is great) OOOOOOO aap KI (feel twist).
ALKA makes an instant IMPACT with her melodious vocals, with emphasis on IS (melody) at 0.39, dil (twist) at 0.40, banJAAAIYE (full vocals, great melody) from 0.55 to 0.56
From 1.03 onwards, Jayesh's vocals he he he he haAAAAAAAIIIIIIIIII (dying effect) and great free-flowing beats that are similar to beats of NANHE YAAR from NANHE JAISELMER kick in.
From 1.15 to 1.16, JAAIIIIYAAAEEEE (melody).
From 1.16 to 1.18, the tune giving sur behind the word MEHMAAN (great).
From 1.18 to 1.21 & 1.29 to 1.31, the start-stop gap followed by 3 lazy hits is great.
From 1.26 to 1.28, tune sur is great.
Between mukhda & 1st stanza, Jayesh's and female chorus WOOWWOOUUUOOWW along with likeable piano piece.
1st stanza
The 3 lazy hits from 2.02 to 2.03 give perfect kickstart.
From 2.08 to 2.10, PALKO MEIN TERI (melodious)
From 2.11 to 2.21, kaaid nazaroon (soothing passion) meeEEEEEIIIINNN (awesome prolonged voice deepening) EEEEIINNNNN (up down twist), TAS (halke se feel twist) VEER from 2.18 to 2.19
At 2.38, MERI (impact vocals).
Between 1st & 2nd stanza, Jayesh's feel good croons along with likeable synthetic piano piece.
2nd stanza
The 3 lazy hits from 3.28 to 3.29 give perfect kickstart.
From 3.31 to 3.32, ZINDAGI (melodious).
From 3.39 to 3.41, dhadkanNNNNN (prolonged) NNNNNN (prolonged twist).
From 3.41 to 3.45, SIRF TERE LIYE (utter feel).
From 3.45 to 3.46, Alka's OOOOO (melodious twist).
From 3.52 to 3.54, TERI AARZOO MEIN (MAXIMUM MELODY EFFECT).
From 3.56 to 3.59, JEETI (desperation) MARTI (feel twist).
From 4.22 to 4.24, JAAIYE (melody) INNN (feel).
From 4.27 to 4.28, great tune sur gives complete effect.
From 4.37 to 4.38, a cute tune plays.
From 4.41 onwards, Jayesh finishes the song with his awesome feel good vocals with emphasis on WOOOW twist from 4.56 to 4.57
Highlights in the song:
1. Jayesh Gandhi's ICE MINT vocals also considering this is special song for him as he doesn't get to croon many full songs.
2. Alka yagnik's melodious vocals.
3. The melodious effect in those CAPTIAL letters.
4. The underlying free flowing beats, 3 lazy hits to give sahi desired effect, likeable piano piece and tune sur after each mukhda line.
5. Soothing female chorus.
Meri Chandi Tu
Every pre-ABA album had to have atleast one item / stage number and Silsilay was no exception.
The female seductive feel croons..lets spend the night together...set the mood of the song and suzanne builds it up with her penetrating groovy whispers.
The mast kickass foot tapping underlying beat hits it from 0.27 onwards and the female vocals from 0.30 to 0.31 make an impact.
The likeably cute tune from 0.35 to 0.45 followed by a rising whoosh sound from 0.45 to 0.47
Kailash Kher arrives with his powerful catchy croons DAM MAST MAST KALANDAR which are the core mukhda tag lines, with emphasis on MAST MAST MAST from 1.01 to 0.52 & 1.00 to 1.01 that are the best sung.
The female vocals OH (normal) at 0.55 & 0.59, OH (higher note) at 0.57 & 1.02 behind the word KALANDAR enhance the overall effect.
The hit pattern in the underlying beat at 1.05, 1.06, 1.07 and so on gives kick.
The added soothing female vocals crooning OH PIYA from 1.24 to 1.32 & 1.40 to 1.45 give awesome overall effect.
The additional quick heavy additional beats at 1.33 & 2.00 give intermittent kick.
Kailash's line KALANDAR - OOOOAAA (awesome twist) from 1.54 to 1.56
Between mukhda & 1st stanza, a well structured catchy feel good peppy tune piece plays from 2.13 to 2.30 followed by Kailash's powerful energetic croons. A wicked funky synthetic techno sound plays from 2.36 to 2.38
1st stanza
In between 2.41 & 2.50, 3.02 & 3.15, the combo of groovy tune and subtle faint female seductive feel croons enhances the overall effect.
From 2.55 to 2.58, the additional beats along with female seductive feel and feel good male croons AH BABY are of great cause.
Sunithi's line keemth - IIEEE (artificial feel good high pitch) at 3.01
The additional fast paced matka beats from 3.14 to 3.16 give great intermittent effect.
The hit pattern of beats behind lines REHNA TU CHAINA TU NIDHIYA TU SAPNA TU has most impact.
Sunithi's line, ME (awesome desperation plea) RI at 3.21
Between 1st & 2nd stanza, heavy raw instruments hit it along with chanting sounds of African tribal dancers followed by feel good female vocals and Suzanne's penetrating seductive feel croons. The repetitive quick beat hits from 3.51 to 3.53 builds up proceedings again followed by female feel good vocals crooning MAST at 3.55 that give the sahi intermittent timing followed by Kailash's powerful energetic croons and wicked funky synthetic techno sound from 4.04 to 4.05
2nd stanza
In between 4.09 & 4.18, 4.30 & 4.43, the combo of groovy tune and subtle faint female seductive feel croons enhances the overall effect.
From 4.23 to 4.26, the additional beats along with female seductive feel and feel good male croons AH BABY are of great cause.
Sunithi's line, AAH RAHA HAAAAAI (feel good twist) from 4.28 to 4.30
The additional fast-paced matka beats from 4.42 to 4.43 give great intermittent effect.
The hit pattern of beats behind lines CHUDI TU KANGNA TU BINDIYA TU GEHNA TU has most impact.
Highlights of this song:
1. Sunidhi's vocals tailor-made for this song.
2. Kailash Kher's catchy power packed core mukhda tag lines who supports and compliments Sunithi very well and enhances the overall energy levels of this song.
3. The mast underlying beats that hit it real good.
4. Cute tune piece, wicked synthetic techno sound, feel good peppy tune piece between 1st stanza gap, heavy raw instruments and African-ish male chants between 2nd stanza gap, groovy tune in stanzas, the rising whooshing sound, fast-paced additional heavy beats and matka beat effect in stanzas.
5. Soothing feel good female vocals/whispers and Suzanne's seductive feel penetrating groovy croons.
This item song was another vintage Himesh-Sunithi combo.
Meri Jaan
This is a very simple well-structured song.
It has a very déjà-vu feel about it and it is very unlike HR.
It opens with a feel-good flute piece followed by jayesh's croons.
The flute does a good job in between the female singer's vocals.
The additional beats from 1.17 to 1.19 set up the mukhda lines...meri jaan...
The tune sur at 1.19 – 1.21, 1.26 - 1.27, 1.31 - 1.32 are effective.
The violin piece between mukhda and 1st stanza enhances the sad feel of this song, followed by Jayesh's croons.
1st stanza.
The tune sur given by flute and trumpet are the key.
Main mangu tujhe har ghadi...are the pick lines in stanza.
Between 1st and 2nd stanza, jayesh returns albeit with subtle vocals followed by feel good vocals, but he soon returns to his usual old antics.
2nd stanza.
The tune sur given by flute and trumpet are the key.
Main dhundu tujhe har jaga...are the pick lines in stanza.
The female chorus along with jayesh's croons convey the feelings of dard and ehsaas, which is strengthened by the unplugged mode flute.
Highlights of this song:
1. Jayesh gandhi's croons.
2. Flute and trumpet (tune sur) throughout the song that is the key in this déjà-vu composition.
3. Female chorus.
4. The additional beats behind lines mere jaan.
Ahista Ahista
The song begins with a feel good synthetic lead piece.
Similar beats 'pattern' used from 0.11 to 0.12, 1.12 to 1.13, 1.38 to 1.39 were used in KYON KI ITNA PYAR from KYON KI from 1.01 to 1.02
The underlying beats are gentle and laid back.
Jayesh goes about his usual croons and the keyboard tune sur from 0.37 to 0.39 give good overall effect.
Shreya croons in her innocent sweet vocals in unplugged mode especially from 0.51 to 0.55, 1.02 to 1.03
Jayesh provides feel good vocals AAIYAE, CHUJAAIYE in between Sonu's vocals.
Between mukhda and 1st stanza, the feel good synth lead is back along with AWESOME church bells and soothing female chorus.
1st stanza
The additional beats from 2.18 to 2.20 are off-da-hook and provide the missing kick needed in this feel good song, and especially considering the unplugged lines earlier.
Off-da-hook drum hit patten from 2.18 to 2.20 (similarly used from 1.22 to 1.24 & 4.26 to 4.29 in O JAANA LOVE U MISS U from ROCKY - THE REBAL) provide the missing kick needed in this feel good song, and especially considering the unplugged lines earlier.
The continuous synthetic lead from 2.30 to 2.39 enhances the feel good nature of this song.
The effect from 2.40 to 2.42 is interesting.
Between 1st and 2nd stanza, lovely piano piece plays along with subtle female chorus croons. Jayesh cant help himself but be his usual self.
2nd stanza
Shreya's lines AAP KI YAADON from 3.42 to 3.46, 3.54 to 3.58 have great feel good emphasis.
Off-da-hook drum hit patten from 3.45 to 3.47 (similarly used from 1.22 to 1.24 & 4.26 to 4.29 in O JAANA LOVE U MISS U from ROCKY - THE REBAL) provide the missing kick needed in this feel good song, and especially considering the unplugged lines earlier.
The effect from 4.07 to 4.09 is interesting.
Jayesh;s croons end the song with AWESOME church bells.
Highlights of this song:
1. Sonu's feel good vocals, shreya's innocent sweet vocals and Jayesh's usual croons.
2. The KYUN KI styled additional beats and off-da-hook beats in stanzas to give kick in an otherwise gentle feel song.
3. Synthetic lead, awesome church bells, lovely piano piece and soothing female chorus.
Belibaas
The BEST song of this album begins with extremely pleasantly soothing female chorus UUUU on a catchy tune followed by Suzanne's seductice feel voice from 0.06 to 0.15 UUUUU giving it her all.
From 0.15 to 0.17, the manner in which the 6 beats hit quickly in groups of 2 beats with small gap gives KICK.
The underlying beat skips itself in latter ending part of the basic repetitive loop pattern, and is similar to the underlying beat skip of TUM SAANSON MEIN from HUMKO DEEWANA KAR GAYE, but albeit with a faster tempo.
From 0.17 to 0.29, the female vocals continue to build up the song with HAI YEEEAHHH, UUEEEAAAOOOO along with catchy tune.
Sunithi croons full-fledged pouring her heart out, HAIIAA (TERRIFIC penetrating vocals) from 0.31 to 0.32, 0.57 to 0.58, bhar-DEEAA (TERRIFIC penetrating vocals) from 0.36 to 0.37 & 1.01 to 1.02, jazbaaton KOOOOO (feel good), tu BEEE (TERRIFIC quick melodious penetrating twist) at 0.44 & 1.10
From 0.51 to 0.53, KARDEEAAEE (TERRIFIC halke se feel twist, dheere ka jhatka zor se lage).
From 0.54 to 1.02, Jayesh sings in a subdued manner along with Sunithi.
From 1.13 to 1.18, tu BELIBAAS (male croons YEEAAHHAAEE along with a HEAVENLY instrument), the overall effect is to the doorsteps of heaven.
Between mukhda & 1st stanza, a catchy contemporary instrument tune plays from 1.31 onwards is joined in by Jayesh's feel good vocals. Another new age tune that plays from 1.47 onwards is joined in by female croons. Suzanne's croons, HAAA (normal), HAAA (up), HAAAA (up), LLLLLAAAAIIIIE (whole hearted voice deepening) from 2.04 to 2.07
1st stanza
Jayesh croons, DEEWANANEPAN ME (passionate feel) from 2.12 to 2.15
Sunithi's lines, MANN (feel twist) at 2.17
From 2.29 to 2.36, TUH HAI SUKUUN TU HAI JUNOON REHNA HAI TERE DAAMAN MEIN (the FEEL depresses out of happiness).
From 2.40 to 2.42, SAANSON ME SAANS, nice lyrics that cause a pricking (chuban) effect.
From 2.55 to 3.00, BAAAAS (feel good twist), DEEEE (halke se gradual voice rise).
Between 1st & 2nd stanza, a feel good saxophone plays along with piano piece in unplugged mode from 3.13 to 3.27. Himesh gives the crooners the liberty go go wild and let loose and naughty from 3.28 to 3.40 along with quick repetitive gradually rising funky horns, but they catch perfect sur again UUUUU, UUUUUIIIEEEA (higher note) at 3.42. Suzanne's seductive voice does her feel good thing LALALALA from 3.45 to 3.51
2nd Stanza
Sunithi's croons, AAAAAAA (seductive passionate feel) from 3.49 to 3.50
Jayesh's croons, BIKHARJAAAEEEAAAEEEAAA (gives it his all) from 3.54 to 3.56
From 4.06 to 4.14, shanno pe aake tu theharja, meri jaanaah meri baat maan (the FEEL depresses out of happiness).
From 4.37 to 4.39, the instrument that gives heavenly experience.
From 4.50 to 4.55, jayesh croons along in high pitch to create great overall effect.
The subtle female croons from 4.57 to 5.07 give awesome overall effect.
From 5.13 to end, Jayesh's croons YEEEAAAAA give awesome effect along with Sunithi's vocals, followed by female feel croons UUUUUU and soothing male YEEEAAAAA.
Highlights of this song:
1. Sunithi Chauhans penetrating vocals with voice deepening and halke se feel twists.
2. Underlying rhythmic free flowing beats and additional quick beat hit pattern that gives KICK.
3. Contemporary new age instruments along with a particular instrument that delivers a heavenly experience.
4. Jayesh gandhi's croons and Suzanne D Mello's penetrating seductive feel croons.
This song is an awesome mix of rich melody and rhythm.
Despite being full on, yet it has such amazing passion and subtle soothing feel.
It is another winner for Himesh - Sunithi Combo (not to mention Jayesh Gandhi who is a house hold name).
Tere Liye Mere
The song starts with lively clap beats followed by raw drum beats.
The sound from 0.17 to 0.23 is heavenly and a great build up to the underlying peppy beats.
Jayesh arrives with his feel good croons.
Jolly mukherjee sings with vocals that have an arrogant shouting feel but his lines are actually catchy.
Himesh – the composer always comes up with some innovative unique adjusted singing styles.
Alisha croons with feel good seductive vocals and her lines ISHQ MUSHQ followed by female whispers are likeable.
The lines from 1.08 to 1.22, 1.34 to 1.49 follow a fixed repetitive hook formula and compotion pattern is well structured.
The repetitive tune pattern from 0.53 to 0.57 (very catchy) and 1.29 to 1.30 are catchy.
Between mukhda and 1st stanza, a tabla pattern plays followed by drum-roll beats and synthetic tune, oriental flute and bazz trumpet.
Between 1st and 2nd stanza, fast claps are followed by oriental flute and bazz trumpet.
1st & 2nd stanza
The underlying faint bazz sound effect gives a groovy retro feel.
Alisha's lines are simple yet effective in composition and are sung with seductive feel good vocals.
The punch comes from Jolly's catchy lines especially the lines BIN TE RE that are split into 3 distinct pieces and sung in a separated abrupt manner from each other which gives a kick.
Once again the catchy tune from 3.03 to 3.05, 4.30 to 4.32 and 4.57 to 4.58
Highlights of this song:
1. Jolly's catchy deliberately arrogant feel vocals (that are actually quite a challenge to sing continuously in in right pitch/scale/sur) that is the USP of this song.
2. Alisha's feel good seductive vocals especially in the stanzas.
3. The underlying free-flowing peppy beats, the catchy repetitive tune, the constant faint bazz sound in stanzas, oriental flute and bazz trumpet in stanza gaps.
When gaon ka gabbar along with Samba and Co hits the most happening urban nightclubs in downtown, then this is the type of KABEELA mix with a GROOVY RETRO feel expected from Himesh.
My Picks
1. Belibaas
Catchy soothing female croons from start to 0.15 followed by hit pattern from 0.15 to 0.17, 0.56 to 0.58 and so on that gives sahi desired effect. Sunithi's line, KARDEE (awesome halke se feel) from 0.53 to 0.56, BE (OFF-DA-HOOK fulltu high-pitched) LIBAAS at 1.10. The underlying rhythmic beat skips itself. The majestic heavenly sound effect from 1.16 to 1.21 gives completeness effect to preceeding lines. A catchy new-age tune plays from 1.31 to 1.46 in between 1st stanza gap. Sunithi's lines in 1st stanza, TU HAI SUKOON TU HAI JUNOON REHNA HAI TERE DAMAN MEIN from 2.32 to 2.38 and in 2nd stanza, MERE JAHAAN MERI BAAT MAAN ISHQ MEIN HADH SE GUZAR JA from 4.13 to 4.20 strike an emotional chord. Jayesh's high pitched croons from 5.16 to 5.21 are catchy.
2. Ban Jaaiye
The USP of this song is its REFRESHING appeal. Underlying free flowing rhythmic beat kicks in from 1.04 onwards. Kunal sings with SUGAR COATED vocals, with emphasis on his BEST CATCHY lines, RABBA-AAAA (terrific profound quick twist) from 0.23 to 0.24, DILKO-OOOO (terrific profound quick twist) from 0.33 to 0.35, WOOOOOW (off-da-hook passionate feel) from 1.48 to 1.50 in between 1st stanza gap, KAID NAZRON MEINNNNN (prolonged vocal emphasis) NNNN (terrific profound twist) TERI TASVEER HAI (terrific desperation plea) from 2.14 to 2.24 in 1st stanza, KEH RAHI DHADKANNNNNN (prolonged vocal emphasis) NNNNN (terrific profound quick twist) SIRF TERE LIYE (terrific desperation plea) from 3.40 to 3.49 in 2nd stanza, Alka's lines, TERI AARZOO MEIN (melodious pinch) from 3.55 to 3.57 in 2nd stanza.
3. Meri Chaandi Tu
Kailash Kher RWAKS it with his fulltu high pitched vocals that give the VOCAL KILL effect in the core mukhda PUNCH line DAM MAST MAST KALANDAR. Full on rhythmic beats HIT IT from 0.26 onwards. Off-da-hook quick heavy beat effect from 1.32 to 1.33 & 1.59 to 2.00gives intermittent kick. Catchy well structured tune piece in between 1st stanza gap from 2.13 to 2.29 in the OST version. Cutie mutie Riya Sen does her thing in this club number.
4. Tere Liye Mere
What happens when gaon ka Gabbar hits an urban uptown nightclub. Off-da-hook arrogant feel / shouting male vocals CHUPAAYE NAHI CHUPTE...JAAN JAAN JAAN MERI JAANEJA, BIN TERE DIL YEH MAANE NA are representative of him celebrating ek dum 'kabeela' ishtyle in this funky retro item song. Yo, Gabbar is in da house! Catchy jingle tune piece from 0.53 to 0.57, 1.02 to 1.04 & 1.29 to 1.30
5. Jab Jab Dil Mile.
6. Ahista Ahista.
OFF-DA-HOOK random drum pattern from 2.18 to 2.20 & 3.45 to 3.47
7. Meri Jaan.