Music review analysis of Himesh Reshammiya's album Run (2004).
Sarke Chunariya
This is another one of vintage typical unique HR melodies.
The song starts on indeed a bright tune followed by Jayesh Gandhi's croons in unplugged mode.
Momentum is built with soothing melodious female chorus ZARA ZARA croons from 0.19 to 0.27
Melodious Alka appears on the scene from 0.28 onwards, with emphasis on her lines REEEE (awesome quick twist) from 0.30 to 0.31, 0.34 to 0.35, 0.39 to 0.40 & 0.44 to 0.45
The profound bazz sound from 0.48 to 0.55 is of great buildup.
The basic underlying beat that kicks in from 0.57 onwards is similar to that of MERI CHANDI TU from ISHQ HAI TUMSE, and makes da listener hop to its rhythmic groove.
The female chorus accompanying Alka & Udit lines ZARA ZARA are melodiously soothing.
A cute tune at 1.18 & 1.21, 4.58 & 5.01 enhances the innocence factor.
The profound beat hit from 1.21 to 1.25 & 1.51 to 1.54 joined in by Jayesh's higher pitched croons gives great intermittent effect.
Between mukhda & 1st stanza, a quick rising majestic flick from 2.03 to 2.04 is followed by a pleasantly likeable flute piece from 2.05 to 2.08 followed by Jayesh feel good passionate croons and female chorus. The gradually rising soothing female chorus from 2.30 to 2.33 is awesome.
1st stanza
Alka's line, MERI PALKO MEIN * 2 (halke se melodious feel) from 2.33 to 2.38 along with intermittent feel good typical household string based instrument (with inherent twist).
Alka's lines, MERI PALKO (terrific sudden abrupt high pitch) at 2.40, TERE AANE SE (terrific sudden abrupt high pitch) at 2.48 along with three additional beats in SYNC give KICK.
Alka's lines, CHANDNIIIII (quick melodious twist) at 2.43 & ROSHNIIII (quick melodious twist) at 2.51 is TERRIFIC composition.
The catchy quick tune hits from 2.44 to 2.46 & 2.53 to 2.54 give HELL LOT OF SIKE and are the key in stanzas.
The 2 heavy drum hits from 3.08 to 3.09 were similarly used at 1.38 & 2.07 in DIDAVE from AABRA KA DABRA.
Between 1st & 2nd stanza, the feel good female chorus along with profound tabla beat skip pattern from 3.30 to 3.49 is followed by a cute innocent tune from 3.50 to 3.59 and joined in by Jayesh's feel good passionate croons followed by female chorus. The gradually rising soothing female chorus from 4.11 to 4.14 is awesome.
2nd stanza
Alka's line, KORA KORA MANN HAI * 2 (halke se melodious feel) from 4.14 to 4.19 along with intermittent feel good typical household string based instrument (with inherent twist).
Alka's lines, KORA YEH MANN (terrific sudden abrupt high pitch) at 4.21, SUNI DHADKAN (terrific sudden abrupt high pitch) at 4.30 along with three additional beats in SYNC give KICK.
Alka's lines, NAAM HIIIIIII (quick melodious twist) at 4.23 & KARNA ISEEEE (quick melodious twist) at 4.32 is TERRIFIC composition.
The catchy quick tune hits from 4.25 to 4.27 & 4.33 to 4.35 give HELL LOT OF SIKE and are the key in stanzas.
The 2 heavy drum hits from 4.49 to 4.50 were similarly used at 1.38 & 2.07 in DIDAVE from AABRA KA DABRA.
The song ends with extended melodious female chorus along with folk tune with inherent twist.
Highlights of this song:
1. Alka's melodious vocals and Udit's feel good vocals.
2. The underlying rhythmic beats, cute tunes, the catchy tune hits in stanzas giving hell lot of sike, 2 additional heavy drum hits in stanzas, and the heavy bazz sound in unplugged mode, quick rising majestic flick followed by pleasant likeable flute piece in between 1st stanza gap, profound tabla beat skip pattern in between 2nd stanza gap and folk tune with inherent twist at end.
3. The sudden abrupt high pitch composition style along with three additional beats in SYNC in both stanzas that give kick.
4. The female chorus (UUUUU / ZARA ZARA lines) and Jayesh Gandhi's feel good passionate croons.
Dil Mein Jo Baat
The song starts with super soothing female chorus.
The tune from 0.14 to 0.16 & 0.19 to 0.21 is awesome.
The beats are very free flowing.
The female chorus behind Sonu's vocals is very soothing.
The CHAL CHAL lines follow a HR's fixed composition pattern of catchy repetitive hooks whereby the additional beats in sync are effective.
Alka's part is melodious.
Between mukhda & 1st stanza, the tune from 1.29 to 1.33 teases the listener followed by catchy funky guitar piece from 1.34 to 1.43 and ever soothing female chorus from 1.44 to 1.53
1st stanza
Composition is quite feel good catchy.
Sonu's line MILGIYEEEEEEE (prolonged deliberate voice shake gives some kick) from 2.04 to 2.06, AISA (passionate feel) from 2.08 to 2.09, TERE (feel) at 2.18 & 2.23
From 2.26 to 2.30, TERE UJALO SE * 2 (emphasis twist with echo effect) in unplugged mode is quite catchy.
Between 1st & 2nd stanza, the seductive female vocals spells her magic and slowly builds up her voice from low notes to higher notes. The peak point reaches at 3.28 when she croons in high notes OOOOOO - OOOOOOO (TERRIFIC halke se voice rise) and her voice MERGES with the TERRIFIC tune sur from 3.31 to 3.32. This overall effect gives TERRIFIC KICK. The soothing female chorus immediately croon OOOOO and from 3.35 to 3.37, the additional drum beats hit in SYNC (7 times) with the OOOOO part followed by feel good guitar piece. By this time, the song is rwaking!
2nd stanza.
Very catchy melody by alka.
Emphasis on TERA (striking melody), AASHIQUANA BARA (prolonged deliberate voice shake gives some kick), MERAAAA (slow gradual voice lowering), YUHI MULAQUATEINNNN (emphasis melodious twist) followed by feel good tune sur from 4.10 to 4.14
The ending chal * 4 part is melodious.
Highlights of this song:
1. Sonu's soothing vocals and Alka's melodious vocals.
2. Soothing female chorus, female voice in between 1st & 2nd stanza which merges with tune sur.
3. Guitar piece in between mukhda & 1st stanza.
Tere Aane Se
The song starts with raw drum beats followed by a repetitive theme guitar piece from 0.08 to 0.15 along with seductive female croons YEAH.
A continuous guitar piece follows up followed by Kumar Sanu's vocals along with a bottle top snap effect.
The beat effect in unplugged mode from 0.48 to 0.49 gives the desired kick.
The theme piece plays again along with intermittent seductive female vocals.
The synthetic guitar at 0.58, 1.00, 1.02, 1.04 makes a profound impact.
The feel good female vocals from 1.07 to 1.09, 1.13 to 1.15 give good effect behind Sanu's lines.
The fast beats from 1.10 to 1.11, 1.35 to 1.36 give great intermittent effect.
The quick tune flick behind Alka's lines in between 1.24 and 1.31 are great.
Alka's line KARAAAAR (prolonged) is melodious.
The chime effect from 1.36 to 1.37 is splendid.
Between mukhda and 1st stanza, a feelgood tune plays along with trumpet followed by feel good female croons.
1st stanza
The guitar theme piece in unplugged mode is great build up followed by the sur HOOOOO caught by Kumar is great.
The keyboard tune sur and trumpet tune keep up the peppy feel good nature of this song.
Sanu's line JUDNE LAGAAA-AA-AA (feel good high note) from 2.12 to 2.15
The lines from 2.22 to 2.30 remind of the 90's style.
Between 1st and 2nd stanza, a traditional rajasthani tune plays along with naughty female vocals and the overall effect is kinda catchy.
2nd stanza
Alka's lines are melodious with mention for HA-AA (higher note) at 3.46, MARTE
The keyboard tune sur and trumpet tune keep up the peppy feel good nature of this song.
The lines from 3.53 to 4.00 remind of the 90's style.
Alka's lines ZAMEEN PE (striking melody), UTARA GAYA (striking melody), LIYEE (classical touch) in between 4.03 and 4.10
The continuous female chorus from 5.04 to end enhances the melodious effect especially behind Alka's lines.
Highlights of this song:
1. Sanu's feel good vocals and Alka's melodious vocals especially from 2nd stanza till end.
2. The soothing female chorus, feel good female vocals and seductive female croons.
3. The peppy underlying beats with a repetitive clap-type pattern, the guitar theme piece, synthetic hits, chime effect, the feel good keyboard and trumpet tune in stanzas, the rajasthani and naughty female vocals in between 1st and 2nd stanza gap.
Chain Ho
The starting synthetic piano THEME piece in unplugged mode is terrific, with a special mention of its quality and pattern.
Jayesh Gandhi goes about his usual high-pitched croons with great results. Emphasis on dilRUBAAAA (bindaas feel good).
The 3 keys TUNE SUR (up, up 2 notes, up 2 notes) from 0.18 to 0.20 are awesome.
Jayesh's OH JAANA in between Sonu's lines is feel good.
The additional drum beats behind lines SIRF TUM * 2 from 1.00 to 1.02 & 1.27 to 1.28 enhance the build-up.
The lines, mujho iqraar HAAAI, tumse hi pyar HAAAI, the HAAAI is representative of typical feel good HR melody.
Between mukhda & 1st stanza, Jayesh goes about his usual high-pitched croons and the female chorus later join him for a refreshing feeling.
1st stanza
Alka sings in sweet melodious vocals.
From 2.17 to 2.18, the additional drum beats the lines waasta * 3
Jayesh's soft OH JAANA is effective.
The female chorus UUUU vocals behind raasta * 3 creates awesome sooth effect.
Between the 1st & 2nd stanza, the terrific synthetic piano theme piece comes to mesmerize the listener along with Jayesh casting his magic spell. A subtle flute piece follows to convey the feel factor.
2nd stanza
It is more melodious than the 1st stanza.
From 3.39 to 3.40, the additional drum beats the lines aashiqui * 3
Jayesh's soft OH JAANA is effective.
The female chorus UUUU vocals behind dillagi * 3 creates awesome sooth effect.
Alka's line, bani dilki lagi YAAR (striking melody) at 3.53
Sonu's vocals are feel good throughout the song.
Highlights of this song:
1. The terrific synthetic piano theme piece that is used intermittently through the song.
2. The additional drum beats behind lines SIRF TUM and also in beginning of each stanza.
3. The female chorus UUUU in stanzas, and Jayesh's high-pitched croons wherever mentioned along with subtle Oh Jaana.
4. Alka's melodious sweet vocals along with Sonu's feel good vocals.
Nahi Hona
The song starts with a CULT catchy traditional folk (rajasthani) tune followed by 1 beat hit to great effect.
The harmonica THEME PIECE from 0.10 to 0.19 is very catchy as well, the tune pattern is awesome.
Kunal's lines raaniIIIIIII, kahaniIIIIII, diljaaniIIIIII (prolonged voice deepening).
The rajasthani tune sur at 0.37 & 0.42.
The sharp 1 beat gives great effect.
The lines NAHI HONA NAHI HONA are simple and catchy.
From 0.48 onwards, the female chorus joins in crooning nahi hona and from 0.53 onwards, the beats (with heavy dose of TABLA beats) kick in. This is a GREAT BUILD UP.
The harmonica tune from 1.12 to 1.21 & 1.23 to 1.28 comes back to treat the listener.
The quick 4 lines KIYA KIYA KIYA KIYA are very catchy followed by tune HAI PAGAL (awesome TUNE SUR from 1.22 to 1.23).
Between mukhda & 1st stanza, more rajasthani tune plays along with heavy old-styled drums with TREMENDOUS EFFECT. When the male folk singer makes an appearance, this fact is confirmed. His lines along with drum beats is simply a TREAT. From 2.11 onwards, a FOLK RAAGA STRING instrument plays. Time for the CAMELS to dance!
Stanzas follows a very fixed sure-shot hit formula during that era with repeated hooks.
1st stanza
At 2.31, the repetitive catchy hooks NAHI LAGE * 3 (along with female chorus), YEH DHAAGE * 3 (along with female chorus) at 2.41
From 2.51 to 2.52, KIYA * 4 is catchy.
Between 1st & 2nd stanza, the heavy drums along with the CULT rajasthani tune play. A metal guitar follows. Since the camels don't understand language at least they can dance to these tunes in between! From 3.44 onwards, the THEME PIECE plays unplugged and at 3.48 the full DHOLKI beats that join in are awesome.
Kudos to HR for making such a brilliant female vocal selection in form of Richa Sharma who is tailor-made for such type of songs.
2nd stanza
She makes a solid impact with these lines, baje REEE (twist) YUN BAJE * 3 (accompanied by chorus) followed by HAI, MAYUR BAN ME (awesome lyrics), nache REEEE (twist) HAI NACHE (accompanied by chorus) * 3 followed by a powerful HAAI (emphasis).
At 4.20, quick KIYA * 4 is awesome.
From 4.50 onwards, the female chorus joins in along with the folk raga instrument.
Highlights of this song:
1. Kunal's peppy light-hearted singing and Richa's power packed vocals.
2. The chorus wherever mentioned.
3. The harmonica THEME PIECE tune, CULT folk raga tune and rajasthani tune, heavy old-styled drums and underlying dholki beats.
4. The gaps between stanzas to which the camels can dance on.
5. The catchy repetitive hooks that were a sure-shot hit in that era.
The SPECIALITY of this song is that it is a FUZION of CLASSICAL FOLK with PUNJABI FLAVOUR.
The drums (traditional folk), rajasthani and raga folk tune along with the female vocals in between mukhda & 1st stanza are typical classical folk.
The male and female vocals are ideally suited for Punjabi flavored songs. Add to this the Punjabi lyrics NAI HONA NAI HONA, SUN LE DIL JAANI, PAAKE TUJHO SONIYE, MERA SAJAN TERE SIWA, RABBA.
This is a refreshing song that brings a smile on the listeners face.
Listen to it for the beats/tunes and catchy repetitive hooks.
Bade Nazuk Daur
The underlying beats are tailor-made for this song. The piano piece is easy on the ears followed by the trumpet tune.
Kumar sanu's line raHE at 0.40, 0.49, 1.04 & 1.37 makes a lower octave impact.
The line HOO * 2 at 1.02 & HAA * 2 at 1.26 adds to feel good nature of the song.
Alka makes high-pitched melodious impact at lines, ISHQ ke PECHIDA.
From 1.27 to 1.29, Alka sings GU-ZAR-RAHE-HAI in classical descending twist in unplugged mode.
Between mukhda & 1st stanza, feel good female chorus do their NA NA followed by likeable piano piece.
1st stanza
Sanu's line, HAAI (middle octave impact) in between 2.13 to 2.31
From 2.38 to 2.40, AASHIQ * 5 fading echo effects in unplugged mode is great.
The START-STOP gap at 2.41 is innovatively awesome.
The UUUU female chorus after this from 2.42 is 2.49 is awesome.
At 2.50, HA (up) AA (down) AA (up) is of good cause.
Between 1st & 2nd stanza, the bazz trumpet plays follows by a lovely repetitively quick tune piece from 3.27 to 3.29
2nd stanza
The CLASSICAL TWIST in Alka's lines from 3.41 to 3.42, hulCHUL HA-AA-AA-AA (awesome).
From 3.49 to 3.54, her high-pitched vocals make an impact with emphasis on lines DIL, SAB & SANAM.
From 3.56 to 3.58, CHAAHE * 5 fading echo effects in unplugged mode is great.
The START-STOP gap at 3.59 is innovatively awesome.
The UUUU female chorus from after this from 4.00 is 4.08 is awesome.
Alka's lines, BADE (striking melody), GUZAR (profound classical twist) RAHE (subtle) from 4.04 to 4.05
At 4.32, alka's high-pitched HAAA is also very impactful.
From 4.50, the soothing female chorus UUUU finish off the song.
Highlights of this song:
1. Sanu's lower octave impact (his biggest weapon) and alka's high-pitched melodious vocals with classical twists here-n-there.
2. Special mention for all the HOOO, HAAA etc gap-fillers used to greet effect.
3. The underlying beats, piano and bazz trumpet, and female chorus UUUU in stanzas and ending part.
My Picks
1. Sarke Chunariya Re & Dil Mein Jo Baat (tie).
Sarke Chunariya Re
Alka's lines, MERI PALKO (terrific sudden abrupt high pitch) at 2.40, TERE AANE SE (terrific sudden abrupt high pitch) at 2.48, KORA YEH MANN (terrific sudden abrupt high pitch) at 4.21, SUNI DHADKAN (terrific sudden abrupt high pitch) at 4.30 along with three additional beats in SYNC give KICK. BEST PART in song is Alka's lines, CHANDNIIIII (quick melodious twist) at 2.43, ROSHNIIII (quick melodious twist) at 2.51, NAAM HIIIIIII (quick melodious twist) at 4.23 & KARNA ISEEEE (quick melodious twist) at 4.32 followed by catchy quick tune hits from 2.44 to 2.46, 2.53 to 2.54, 4.25 to 4.27 & 4.33 to 4.35 that give TREMENDOUS KICK. .
2. Chain Ho & Tere Aane Se (tie).
3. Nahi Hona & Bade Nazuk Daur Se (tie).
Nahi Hona
It has a traditional folkish feel, courtesy of instrumental theme piece, lyrics and chants in between stanza gaps, hence giving a BANJARA / NOMAD setting in da DESERTS of RAJASTHAN. On this note, although da CAMELS don't understand da language, but atleast they can still DANCE N SWAY THEIR NECKS from 1.57 to 2.18 on OFF-DA-HOOK profound heavy drum hits that catch da listeners pulse.