dil_maange_more

Music review analysis of Himesh Reshammiya's album Dil Maange More (2004).

Gustakh Dil

Sonu opens this song with his subtle vocals along with Jayesh's feel good vocals in unplugged.

The rising harmonica and keyboard tune piece pattern from 0.15 to 0.25, 0.25 to 0.35 is likeable.

The drum-roll beats kick in from 0.22 to 0.25, 1.34 to 1.35, 1.54 to 1.55 are similar to ones used in KOI AAP JAISA from 0.49 to 0.52, BOYS ARE BEST from 0.33 to 0.34

The underlying peppy beats are representative of the beat type and pattern used in BOYS ARE BEST from CHURA LIYA HAI TUMNE and KOI AAP JAISA MIL JAIYE from VAAH LIFE HO TOH AISI. They remind of a prom night.

The keyboard tune piece from 0.35 to 0.37, 0.40 to 0.42 is catchy.

Sonu's lines DIL(twist), LIYE(twist), HAI(twist), JIGAR(twist), BAYAN(twist), KARE(twist) are quite catchy.

The low note in last words JAANEJA at 0.59, BEZUBAAN at 1.04 of mukhda line is the key for giving overall impact of the mukhda structure.

The trumpet tune from 1.07 to 1.09, 1.22 to 1.24, 1.34 to 1.37 & 1.40 to 1.42 gives a grand effect.

Between mukhda & 1st stanza, a funky guitar piece plays follows.

1st stanza

Sonu's lines are feel good with emphasis on AA(feel twist) at 2.29 and 2.39

The soothing female chorus from 2.41 to 2.43

Sunithi's lines in unplugged mode are simple and effective along with female vocals.

Between 1st & 2nd stanza, the cello plays along with likeable piano keys followed by guitar piece.

2nd stanza

Sonu's lines are feel good with emphasis on HOO (feel twist) at 3.44 and 2.39

The harmonica tune followed by keyboard tune sur in between 3.47 and 3.57

The soothing female chorus from 3.57 to 3.59

Sunithi's lines in unplugged mode are simple and effective along with female vocals.

Highlights of this song:

1. Sonu's soothing vocals with feel good twists and Sunithi's feel good vocals.

2. Good use of quick piano keys and flicks, the soothing female chorus.

3. The underlying peppy beats, harmonica tune piece, the drum roll beats and the grand trumpet effect.

Aisa Deewana

This gentle melody and song structure reminds of the 90's style of music.

The song opens in unplugged mode along with a subtle guitar piece and subtle trumpet (instrument, not da tune) from 0.05 to 0.24 that was similarly used in between 0.58 & 1.08 in KHWAHISH from INSAN.

Sonu softens his vocal chords to sing with soothing feel.

The underlying beat pattern that has a 90's style effect and representative of Nikhil - Vinay's brand of music was similarly used in KHWAHISH from INSAN.

The female chorus is likeable.

The keyboard tune sur in between Sonu's lines and the guitar piece in between Alka's melodious vocals enhance the effect.

Between mukhda and 1st stanza, a likeable synthetic piano plays followed by trumpet.

1st stanza

The additional beats at 2.28 that give desired effect were similarly used from 2.12 to 2.13 & 3.33 to 3.34 in KHWAHISH from DIL MAANGE MORE.

Both the singing and composition is laidback.

The key is the soothing feel good female chorus from 2.38 to 2.43

The key board pattern in sonu's lines gives good effect.

Between 1st & 2nd stanza, a funky trumpet plays from 3.16 to 3.26 followed by a well structured descending groovy tune pattern from 3.27 to 3.35

2nd stanza

The additional beats at 3.38 that give desired effect were similarly used from 2.12 to 2.13 & 3.33 to 3.34 in KHWAHISH from DIL MAANGE MORE.

Both the singing and composition is laidback.

The key is the soothing feel good female chorus from 3.49 to 3.54

The trumpet effect behind Alka's lines is nice.

The soothing female chorus finishes off the song along with quick keyboard flicks.

Highlights of this song:

1.Soothing female background chorus especially in stanzas.

2. Alka's high-pitched lines from 1.46 to 1.55 and from 3.57 to 4.07 are best melody in the song.

3. Sonu's soothing feel vocals.

4. The additional beats at start of stanzas, subtle guitar beats, funky trumpet and quick piano flicks.

5. Funky trumpet followed by well structured descending groovy tune pattern in between 2nd stanza gap.

This song is all about 'casual feel'.

It has a very different approach in terms of music arrangement in terms of beats and instruments.

The only other similar 'gentle feel good melody' very unlike Himesh in terms of orchestration but still having traces of his typical elements is TUM MILE from MY NAME IS ANTHONY GONSALVES and KHWAHISH from INSAN (which was also sung by Sonu and Alka with da same underlying beat pattern but was much inferior in terms of melody and also lacked the distinctive Himesh stamp).

O Makhna Ve

The song begins with a feel good cello piece followed by cheeky male and female vocals.

The remix beat kicks in from 0.15 onwards along with Jayesh's middle octave croons on a well structured composition pattern until 0.29

The build up from 0.30 to 0.40, with KK's prolonged croons and semi-plugged beats.

The mast foot tapping beats kick in from 0.42 onwards.

The overall effect from 1.00 to 1.04 comprising of a descending groovy tune and techno skip sound is awesome, followed by build up beats from 1.05 onwards.

The mukhda lines and bazz trumpet from 1.05 to 1.25 & 1.38 to 1.53 was similarly used in mukhda lines of KOI TUMSA from DASHAVATAR.

Between mukhda and 1st stanza, a feel good tune plays followed by an oriental flute along with underlying foot tapping beats.

1st stanza

KK sings with feel good vocals on a simple yet effective composition pattern.

KK's lines MILI (gradual twist) at 2.10, NEEE (gradual twist) at 2.14

The female vocals from 2.19 to 2.20 enhance the feel good nature.

Sunithi's lines in unplugged mode from 2.21 to 2.28 are a build up, with emphasis on PADA (feel good twist) at 2.24, 2.32 & BADA (feel good twist) at 2.28

The completeness to build up occurs when full beats give a kick from 2.29 to 2.36

Sunithi's line BEEEE (feel good high pitch) at 2.32

The soothing female chorus from 2.31 to 2.36 enhances the overall melodious effect.

Between 1st and 2nd stanza, the cheeky vocals are back followed by feel good male croons followed by bazz trumpet and harmonica tune. The drum effect from 3.09 to 3.10 is likeable.

2nd stanza

KK sings with feel good vocals on a simple yet effective composition pattern.

KK's lines TERA (twist) at 3.34, ZAMEEN (gradual twist) at 3.38

The female vocals from 3.43 to 3.45 enhance the feel good nature.

Sunithi's lines in unplugged mode from 3.45 to 3.52 are a build up, with emphasis on JAISA (feel good twist) at 3.48, 3.52, 3.56 & 4.00

The completeness to build up occurs when full beats give a kick from 3.53 to 4.00

Sunithi's line tu-TAA (feel good high pitch) at 3.57, PE-EE-EE (quick feel good, down 3 keys with 2 notes gap) at 3.50 & 3.58

The soothing female chorus from 3.55 to 4.00 enhances the overall melodious effect.

The oriental flute joins in the end along with KK's croons and bazz trumpet.

Highlights of this song:

1. KK's and Sunithi's feel good vocals.

2. Soothing female chorus in stanzas and Jayesh's croons.

3. The underlying foot tapping rhythmic beats, bazz trumpet and oriental flute.

4. The build up pattern (in mukhda and stanzas) by semi-plugged beats followed by full on beats.

This is a peppy rhythmic feel good melody.

Shiqwa Bhi Tumse

The song begins with a subtle oriental harmonica theme piece in unplugged mode.

The sound effect from 0.50 onwards behind sonu's vocals is majestic.

The female vocals behind sonu's lines along with the female whisper on lines...dil mange more...are great build up to the song.

The funky sound from 1.56 to 2.12 builds the tempo along with synthetic keyboard
The underlying beats are free-flowing and rhythmic.

Sonu sings with feel good vocals along with female chorus.

The additional beats from 3.02 to 3.03 provide desired effect.

Between mukhda and 1st stanza, the sound effect from 3.28 to 3.29 is great
Stanzas are better than mukhda.

1st stanza

Sonu's lines from 3.30 to 3.48 get the listener into the groove, also courtesy due to the harmonica piece from 3.37 to 3.39.

The underlying metal guitar from 3.31 to 3.35 gives great effect.

These are the best lines of the stanza.

Between 1st and 2nd stanza, the sound pattern is groovy. The harmonica theme piece plays.

2nd stanza

Sonu's lines from 4.45 to 5.02 get the listener into the groove, also courtesy due to the harmonica piece from 4.53 to 4.55.

The underlying metal guitar from 4.46 to 4.51 gives great effect.

These are the best lines of the stanza.

Sonu croons the catch phrase of the album 'dil mange more' in free style vocals along with female croons after which the song ends.

Highlights of the song:

1. The lines from 3.30 to 3.48 and from 4.45 to 5.02 are best in the song.

2. The female chorus and seductive female whisper.

3. The rhythmic free-flowing beats, oriental harmonica theme piece, groovy sound pattern and underlying metal guitar in stanzas.

This is a very happy go lucky number whereby the protagonist is in a journey and his own feel-good world with a little bit of complaints.

Maine Chun Liya

The BEST song of this album begins with a terrific oriental flute piece along with household string instrument with an inherent twist.

The feel good guitar theme piece plays from 0.11 to 0.32

The beat effect from 0.20 to 0.21 was similarly used from 1.02 to 1.03 in KYON KI ITNA PYAR from KYON KI.

The soothing chorus kick in from 0.35 to 0.50 & 1.24 to 1.28 along with Udit's and Shreya's mukhda lines.

The quick set of beats (first set of lighter tabla hits are the BUILD UP part and second OFF DA HOOK set of heavier drum hits give da KILL EFFECT and TREMENDOUS KICK thus causing an ADNERALINE RUSH) from 0.48 to 0.51, 1.08 to 1.10, 2.54 to 2.56 & 4.46 to 4.48 were similarly used from 0.47 to 0.50, 1.20 to 1.22, 2.42 to 2.45 & 4.10 to 4.12 in UUD UUD JAAYE from VAADA.

The intermittent tune in between 0.53 to 1.02 sounds cute.

Between mukhda & 1st stanza, the bazz trumpet piece plays followed by feel good guitar theme piece. The tune sur from 1.56 to 1.57 is terrific.

1st stanza

The fast paced tabla beats from 1.58 to 2.00 give great kick start to stanza.

The TERRIFIC tune sur from 1.59 to 2.03 is the KEY behind Udit's lines.

Udit's lines, JAOGE TUM (awesome desperation feel) from 2.04 to 2.05, KAHO NA * 3 (hummable) from 2.05 to 2.07

The pleasant bansuri plays from 2.08 to 2.11

Shreya's lines from 2.11 to 2.22 are innocently melodious.

A cute tune plays from 2.22 to 2.24

The traditional laidback drum beat skips from 2.25 to 2.37 give the outdoor setting feel .

Udit's lines, YAAAAAAA (prolonged) AAAR (terrific abrupt up twist) from 2.26 to 2.30, INTEZAAAAAA (prolonged) AAAA (terrific abrupt up twist) AAAAR (twists-n-turns) from 2.32 to 2.37

Udit's prolonged abrupt up twist YAAAAR from 2.28 to 2.29 was similar to the prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA, the prolonged abrupt twist from ADAAA from 2.55 to 2.57 & JAGAAA from 4.17 to 4.20 in AADAT HO CHUKI from KOI AAP SA, line YAAAAAA (prolonged) AAAA (up desperation plea twist) from 1.15 to 1.19 & 5.06 to 5.08 in WAADA TENU from AAP KA SUROOR and line HAAAAAA (prolonged) AAAAI (up desperation plea twist) from 2.32 to 2.35 in SACHE AASHIQ from SHAADI SE PEHLE. 

The two profound quick laidback drum skips from 2.36 to 2.37 are of great cause.

Between 1st & 2nd stanza, the soothing female chorus with great rising pattern along with an underlying profound beat and with likeable quick piano flicks, with emphasis on the quick rising typical characteristic keyboard flick from 3.31 to 3.16 & 3.35 to 3.38 that was used at the same spot from 4.23 to 4.25 in TERE NAAM TITLE TRAX, is followed by feel good guitar theme piece. The tune sur from 3.48 to 3.49 is terrific.

2nd stanza

The fast paced tabla beats from 3.50 to 3.51 give great kick start to stanza.

The TERRIFIC RAGA tune sur from 3.52 to 4.00 is the KEY behind Udit's lines.

Udit's lines, BADHNE LAGI HAI AAB TOH (hummable) from 3.57 to 3.59

Shreya's lines from 4.03 to 4.14 are innocently melodious.

A cute tune plays from 4.14 to 4.16

The traditional laidback drum beat skips from 4.16 to 4.29 give the outdoor setting feel.

Shreya's lines, NIKHAAAAAAR (prolonged) AAAAR (terrific abrupt up twist) from 4.18 to 4.21, NAYI (halke se innocent feel) at 4.22, BAHAAAAAAAR (prolonged melody) AAAA (off da hook abrupt up twist) AAAAR (off da hook twists-n-turns) from 4.24 to 4.29

Shreya's prolonged abrupt up twist NIKHAAR from 4.20 to 4.21 was similar to the prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA, the prolonged abrupt twist from ADAAA from 2.55 to 2.57 & JAGAAA from 4.17 to 4.20 in AADAT HO CHUKI from KOI AAP SA, line YAAAAAA (prolonged) AAAA (up desperation plea twist) from 1.15 to 1.19 & 5.06 to 5.08 in WAADA TENU from AAP KA SUROOR and line HAAAAAA (prolonged) AAAAI (up desperation plea twist) from 2.32 to 2.35 in SACHE AASHIQ from SHAADI SE PEHLE.

The two profound quick laidback drum skips from 4.28 to 4.29 are of great cause.

Shreya's line, GUN – LIYAAAA (awesome gradually rising profound twist) from 4.38 to 4.39

The soothing female chorus join in near the end.

Highlights of this song:

1. Udit's soothing feel vocals and Shreya's innocently sweet melodious vocals.

2. The quick set of beats (first set of lighter tabla hits are the BUILD UP part and second OFF DA HOOK set of heavier drum hits that give da KILL EFFECT and TREMENDOUS KICK thus causing an ARNERALINE RUSH) used intermittently throught are the BEST orchestration of this song.

3. Mesmerizing oriental flute at start, feel good guitar theme piece, fast paced tabla beats at start of each stanza, the tune sur in both stanzas that give terrific overall effect, , cute tunes, pleasant bansuri, two profound quick laidback drum skips and bazz trumpet.

4. The prolonged abrupt twists-n-turns of lines YAAR & INTEZAAR (in 1st stanza) and NIKHAAR & BAHAAR (in 2nd stanza).

5. Soothing female background chorus.

Ku Ba Ku

This is a very feel good and high on energy song.

The mukhda builds up tremendously with semi-plugged beat joined in by a feel good string guitar piece from 0.07 onwards and underlying metal guitar from 0.16 to 0.22

Shaan's croons in one bit semi-plugged mode, kubaku HEE YEAA kubaku HAAEEE YEAAH (subtle feel good) in between 0.22 & 0.55 along with nice intermittent tunes, catchy from 0.26 to 0.28 & 0.32 to 0.34

The combo of guitar plucks and wicked oriental flute plays from 1.00 to 1.08

The build up of the song up until this point / thus far is commendable, after which the main rhythmically vibrant energetic beats kick in from 1.08 onwards.

The saxophone from 1.16 to 1.23 is of great cause.

From 1.46 to 1.49, Jayesh gandhi does his usual thing, with emphasis on line yu sataaoNAAAA-HOOOO-OOOOH (catchy croons) from 1.46 to 1.49

The 3 key church bells from 2.01 to 2.02, 2.12 to 2.13 & 2.22 to 2.23 make a profound impact.

The whoosh sound at 2.33 enhances the energetic vibe.

From 2.44 to 2.47, tu nazar aaAAAAAYEEEE (great voice deepening).

Between mukhda & 1st stanza, the feel good carreabean styled female vocals along with feel good guitar riffs and peppy beat from 2.55 onwards. A catchy funky guitar plays from 2.53 to 2.55

1st stanza

The semi plugged beat along with wicked oriental flute and profound guitar plucks from 3.10 to 3.20 is the build up part, followed by whoosh effect and main beats from 3.21 onwards.

The soothing female chorus at a higher pitch OH JAANEJA from 3.14 to 3.17, 3.25 to 3.29 & 3.33 to 3.36 along with Shaan's lines give great overall effect.

From 3.37 to 3.42, great composition of low notes, it goes from high to low low low in a pattern, like climbing down stair steps.

Shaan's rising line, har JAAGAAAA (up 2 notes) AAAA (up 2 notes) AAAA (up 2 notes) AAAA (quick twist) from 3.50 to 3.54 is awesome.

The feel good guitar riffs from 3.55 to 3.59 are of great cause.

Shaan's line, TU (terrific classical feel twist) NAZAR (terrific classical feel twist) from 4.11 to 4.12 is the BEST part of the song.

Between 1st & 2nd stanza, Shahid belts out his passionate lines along with a likeable piano piece from 4.16 to 4.38 followed by chime effect from 4.28 to 4.30 along with a quick semi plugged beat. The feel good guitar piece plays from 4.30 to 4.45, with the main beat joining in from 4.38 onwards. 

2nd stanza

The semi plugged beat along with wicked oriental flute and profound guitar plucks from 4.45 to 4.56 is the build up part, followed by whoosh effect and main beats from 4.57 onwards.

The soothing female chorus at a higher pitch OH RABBA RE from 4.49 to 4.52, 5.00 to 5.04 & 5.08 to 5.11 along with Shaan's lines give great overall effect.

From 5.12 to 5.17, great composition of low notes, it goes from high to low low low in a pattern, like climbing down stair steps.

Shaan's rising line, hai JAAAAAA (up 2 notes) AAAA (up 2 notes) AAAA (up 2 notes) AAAAA (twist) from 5.23 to 5.29 is awesome.

The feel good guitar riffs from 5.30 to 5.35 are of great cause.

A majestic sound plays at 5.43

The song ends with cheeky female croons KU BA KU from 6.01 onwards along with feel good guitar plucks / riffs and repetitive intermittent keys.

Highlights of this song:

1. Shaan's feel goos vocals, with emphasis on line, TU (terrific classical feel twist) NAZAR (terrific classical feel twist) from 4.11 to 4.12 which is the BEST part of the song.

2. Jayesh's catchy croons, feel good carreabean styled female vocals in between 1st stanza gap, soothing female chorus in both stanzas and cheeky female chorus at end of song.

3. Underlying energetic vibrant rhythmic beats.

4. Wicked oriental flute, whoosh effect, saxophone, catchy tune, chime effect, 3 key church bells, feel good guitar guitar plucks and riffs.

5. The build up part until 1.08 and also at start of each stanza, after which the main beats kick in.

My Picks

1. Maine Chun Liya

2. Ku Ba Ku

Shaan's BEST line in the song, MUJHE TU NAZAR AAYE (off-da-hook classical feel twist) from 4.11 to 4.13

3. Gustakh Dil

4. Shikwa Hai Tumse

5. O Makhva Ve

6. Aisa Deewana

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