insan

Music review analysis of Himesh Reshammiya's album Insan (2005).

Chunari

The starting synthetic piano piece is very likeable followed by traditional tune.

Udit's prolonged line CHUNARIIIIIII from 0.21 to 0.24, 0.27 to 0.29

The sound at 0.30 is MAJESTIC.

The female chorus CHUNARI is mind blowing and the key is how they croon at normal note (0.33 to 0.36) to higher note (0.37 to 0.38) and back to normal note (0.39 to 0.41).They really give kick to da listener with their AAAAA from 0.42 to 0.51.

This was the brilliance of Himesh-The composer in the manner he used the female chorus to max melodious effect.

Udit's lines DE GAYI * 3 follows a traditional long recipe of repetitive catchy hooks.

The sound followed by quick beats from 0.59 to 1.01 is just off-da-hook.

The theme piece plays from 1.02 onwards followed by pleasant traditional flute piece.

The 5 additional old-styled drum beats give a great kick start at 1.21, 1.53

The prolonged twist in CHUNARI from 1.31 t0 1.32

The sound in between 1.39 and 1.45 give nice tune sur effect.

Alka belts out some traditional girly lyrics.

Her lines PYAR KI, BECHANI, DE GAYI, CHUNARI are melodious.

Between mukhda and 1st stanza, old styled drums play as if the musician was testing them out (the fast part is awesome). The female chorus croon with sahi desired tabla beat pattern.

1st stanza

The 5 hit drum beats from 3.09 to 3.10 give perfect launch pad.

HR uses his same old formula for repetitive catchy hooks on lines MAINE * 3, JAANA * 3 along with soothing female chorus TEH KARLIYA.

Emphasis on Alka's lines LAAGE (classical twist) at 3.41

Between 1st and 2nd stanza, the unplugged part in the theme piece tune is awesome followed by heavy fast drum beats and soothing female chorus.

2nd stanza

The 5 hit drum beats from 4.35 to 4.36 give perfect launch pad.

HR uses his same old formula for repetitive catchy hooks on lines KOI * 3, AARMA * 3 along with soothing female chorus PYAAR AAGAYA.

Emphasis on Alka's lines AAPNA (classical twist) from 5.07 to 5.08

The female chorus behind Alka's lines from 5.23 to 5.24

The prolonged twist in CHURARI from 5.35 to 5.37 is good.

The soothing female chorus and pleasant flute piece end the song along with interesting single piano key hits.

Highlights of this song:

1. Alka's melodious vocals, udit's vocals and female background chorus (especially build up of song).

2. The majestic sound at 0.30 and the sound followed by quick beats from 0.59 to 1.01 is just off-da-hook.

3. The old styled drum beats, pleasant flute piece, keyboard tune and theme piece.

4. HR's old-age formula that carry on the legacy and long lasting tradition of repetitive catchy hooks.

Is Tarah Deewane

The song starts with the same oriental flute that was used in the beginning of AKHIYAN LADA JA from BLACKMAIL.

The subtle seductive female croons are a musical delight.

The bazz trumpet kicks in from 0.18 onwards to give some sike.

Sunithi sings with seductive vocals with penetration.

The female croons from 0.41 to 0.45, 0.50 to 0.53 are really playing around with the listener and are a RIPPER.

The repetitive keyboard hits between 0.54 to 0.59, 2.52 to 2.53 and especially the quick rising flick at 1.00 is so CUTE.

The old style drum beats hit it from 1.01 onwards followed by bazz trumpet.

Kunal also sings with feel and passion especially IS at 1.10

The church organ tune from 1.29 to 1.31, 2.49 to 2.51, 4.08 to 4.10 is mind blowing.

The trumpet from 1.36 to 1.40, 2.55 to 2.58 is pleasant.

Between mukhda and 1st stanza, the soothing female chorus returns to blow away the listener followed by a likeable flute-come-harmonica piece and soothing female chorus.

1st stanza

The fast old styled drums from 2.10 to 2.11 kick stark the stanza.

Sunithi's lines KIYA YAAR BEKARAAR from 2.15 to 2.17 is AWESOME MELODY FEEL

The bazz trumpet gives good intermittent effect.

Kunal's lines SIRF TUMSE PYAR from 2.27 to 2.28 along with tune sur from 2.28 to 2.29 is INREDIBLE TERRIFIC MELODY FEEL. HR take a bow!

The classical twist in Sunithi's lines JAANE JAANA from 2.30 to 2.31

The tune pattern from 2.34 to 2.38 is very seductively creepy.

Between 1st and 2nd stanza, the female croons are back along with synthetic tune and a feel good tune. The keyboard flick from 3.26 to 3.27 is awesome.

2nd stanza

Kunal's lines KHUD SE BEKHABAR from 3.35 to 3.36

The bazz trumpet gives good intermittent effect.

Sunithi's lines NA HAI KAHIN SABAR from 3.46 to 3.48 along with tune sur is INCREDIBLE TERRIFIC MELODY FEEL. HR take a bow!

The tune pattern from 3.53 to 3.57 is very seductively creepy.

The female croons HAAA give good overall effect.

Highlights of this song:

1. The oriental flute, seductive subtle female croons, bazz trumpet, old styled drum beats, cute keyboard flicks, mind blowing church organ.

2. Sunithi's penetrating vocals and Kunal's soothing feel vocals.

3. The lines from 2.27 to 2.28 and 3.46 to 3.48 (along with tune sur) is BEST melody and the business end of the song.

Rain Rain

The new-age sound from 0.09 to 0.12 is nice.

Shaan's and sunithi's energy filled lines YEH DIL KA LAN DEEEEEEEEN (prolonged along with Jayesh's high-pitched croons) make an impact.

The CD spin effect at 0.48, 0.50 0.52

Between mukhda and 1st stanza, some more CD spin along with wicked funky vocals.

The tune pattern from 1.44 to 1.53 is catchy.

1st stanza

The composition is very typical of the peppy pre-ABA item numbers.

The raw beats at 1.59 give good effect.

The feel good female chorus from 2.00 to 2.02, 2.06, 2.10 to 2.11, 2.15

The best melody is on the repetitive catchy hooks (fixed formula in that era) from 2.15 to 2.24 along with the feel good female croons SANAM * 2 that give desired overall effect. Emphasis on the line SANAM-MMM (up 3 notes)-MMM (down 1 note)- MMM (down 1 note) with a feel good twist from 2.20 to 2.21, mind blowing, uffff! A special mention also for the CULT instrument used from 2.22 to 2.23, which is just OFF-DA-HOOK. This instrument was used in song YE LADKI from MAINE PYAR KYUN KIYA at 1.51 and 3.03

The clap effect is also good from 2.25 to 2.30

Between 1st and 2nd stanza, the whoosh sound and Arabian beats is interesting combination.

2nd stanza

The raw beats at 3.28 give good effect.

The feel good female chorus from 3.30 to 3.31, 3.34 to 3.35, 3.39 to 3.40

The best melody is on the repetitive catchy hooks (fixed formula in that era) from 3.44 to 3.52 along with the feel good female croons JAANEMAN * 3 that give desired overall effect. Emphasis on the line JAANEMA-NNN (up 3 notes)-NNN (down 1 note)-NNN (down 1 note) with a feel good twist from 3.49 to 3.50, mind blowing, uffff! A special mention also for the CULT instrument used from 3.51 to 3.52, which is just OFF-DA-HOOK. This instrument was used in song YE LADKI from MAINE PYAR KYUN KIYA at 1.51 and 3.03

Shaan goes full blast with profound twists in lines YEH DIL KA LEN DEN from 4.03 to 4.04

Highlights of this song:

1. Shaan's and Sunithi's feel good energy-filled vocals.

2 The wicked CD spin effect, the best melody described in the stanzas and the CULT instrument that is OFF-DA-HOOK.

3. The lines SANAM from 2.20 to 2.21 and JAANEMAN from 3.49 to 3.50 are the best part and is TYPICAL UNIQUE HR MELODY in terms of composition pattern.

The stanzas are way superior in terms of melody than the mukhdas and the main thing with this song is that it is likeable more so in parts rather than in entirety.

Khwahish

The song begins with a passionate violin theme piece.

The semi-plugged beat kicks in from 0.09 onwards along with a subtle techno instrument.

Alka's melodious feel good croons LA LA from 0.18 to 0.26 are followed by soothing female chorus from 0.27 to 0.35

The underlying 'happy-go-feel' beat pattern that kicks in from 0.36 was similarly used in AISA DEEWANA from DIL MAANGE MORE, and is representative of da sound associated in Nikhil - Vinay compositions.

The bazz trumpet joins in from 0.45 to 0.53

The distinct trademark Himesh stamp is missing from the mukhda.

The subtle trumpet (instrument, not da tune) that plays in between 0.58 & 1.08 was similarly used from 0.05 to 0.24 in AISA DEEWANA from DIL MAANGE MORE.

A majestic keyboard with a jingle sound effect plays from 1.10 to 1.11 & 1.47 to 1.48 followed by a quick descending majestic keyboard flick from 1.23 to 1.26 & 1.41 to 1.44 that gives completeness effect.

Between mukhda & 1st stanza, a peppy tune plays from 1.53 to 2.01 followed by subtle trumpet from 2.02 to 2.10

The distinct trademark Himesh stamp is missing from the stanzas.

1st stanza

The drum beat effect from 2.12 to 2.13 that gives good start to Sonu's vocals was similarly used at 2.28 & 3.38 in AISA DEEWANA from DIL MAANGE MORE.

The 3 sets of 3 quick rising keys in between 2.21 & 2.27 to reach higher notes are of great cause.

A groovy tune plays from 2.29 to 2.38

The violin piece from 2.41 to 2.41 conveys the passionate feel.

Between 1st & 2nd stanza, the soothing female chorus from 3.05 to 3.22 convey da feel factor followed by the passionate violin theme piece from 3.23 to 3.31

The drum beat effect from 3.33 to 3.34 that gives good start to Alka's vocals was similarly used at 2.28 & 3.38 in AISA DEEWANA from DIL MAANGE MORE.

The tune sur in between 3.40 & 3.58 is of great cause.

Sonu's line CHAAHAT (great classical twist) from 3.47 to 3.48

A groovy tune plays from 3.52 to 3.59

The violin piece from 4.03 to 4.04 conveys the passionate feel.

The soothing female chorus joins in towards the song's end which finishes with a funky groovy echo sound effect.

Highlights of this song:

1. Alka's melodious and Udit's feel good vocals.

2. Underlying 'feel-go-lucky' beat pattern.

3. Passionate violin theme piece, subtle techno sound, bazz trumpet, subtle trumpet, majestic keyboard with a jingle sound effect and quick descending majestic keyboard flick.

4. The drum beat effect at start of stanzas, rising key flicks / tune sur and groovy sound in stanzas.

5. Soothing female backgroud chorus.

This is a deja-vu feel good tune with easy going music arrangement is gentle on da listeners ear whereby overall feel good proceedings roll on smoothly without any fuss whatsover.

The melody is nowhere exceptional but rather that of a 'walk in da park' type.

The typical unique HR melody is clearly missing and this is not da usual sound one associates with Himesh Reshammiya brand of music, hence it is an exception to da norm in da pre-ABA era.

Da only trademark himesh element in this song is da soothing female chorus, which was 1 of 3 key pre-ABA elements.

Another pre-ABA song that can be most closely associated with this song is AISA DEEWANA from DIL MAANGE MORE that was also sung by Sonu and Alka with same underlying beat pattern, albeit it was much superior in melody and had a more typical Himesh stamp on it.

My Picks

1. Chunari.

2. Is Tarah Deewane.

BEST MELODY in song is Kunal's line, SIRF TUMSE PYAR (OFF-DA-HOOK catchy) from 2.27 to 2.29 along with underlying tune sur and Sunithi's lines, NA HAI KAHIN SABAR (OFF-DA-HOOK catchy) from 3.46 to 3.48 along with underlying tune sur.

3. Rain Rain.

Stanzas are better than the mukhda. BEST PART in song is in 1st stanza from 2.15 to 2.23 with Shaan's lines OH SANAM (OFF-DA-HOOK catchy emphasis vocals) from 2.19 to 2.21 along with catchy female vocals followed by a funky guitar from 2.22 to 2.24 that gives completeness effect, and 2nd stanza from 3.44 to with Shaan's lines JAANEMAN (OFF-DA-HOOK catchy emphasis vocals) from 3.49 to 3.50 along with catchy female vocals followed by a funky guitar from 3.51 to 3.53 that gives completeness effect

4. Rabba Mere Rabba.

5. Khwahish.

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