bardaasht

Music review analysis of Himesh Reshammiya's album Bardaasht (2004).

Silsilay Mulakaton Ke

A very likeable piano piece plays from start until 0.33

The chime effect followed by quick rising keyboard flick from 0.21 to 0.24 is awesome.

An off-da-hook tabla beat at 0.35 gives sahi desired effect, followed by soothing female chorus until 0.39

The underlying beat pattern comprised of tabla is tailor made for the heroine to do her latkas and jhatkas.

From 0.41 to 0.56, feel good guitar riffs/plucks.

Udit's lines, MULAKATON KE (slight gradual voice deepening) from 0.58 to 1.00, CHORYEAGAA (soothing) AAAAA (slight gradual prolonged voice deepening with abrupt end twist) from 1.02 to 1.05

The synthetic piano flick from 1.26 to 1.27 & 1.50 to 1.51 is likeable.

The gradual 2 note descent in BEWAFAA – AAA – AAA –AAA from 2.31 to 2.32 & 1.55 to 1.56 is awesome.

The quick beat effect followed by 1 hit followed by start-stop gap followed by 2 off-da-hook table hits from 1.32 to 1.35 & 1.56 to 1.56 gives sahi desired effect.

Between mukhda & 1st stanza, the male classical feel vocals, with emphasis on PAA (awesome classical twist) GAAA (feel) from 2.09 to 2.11 & PA - AAAA (terrific sudden high note feel twist) at 2.15, followed by soothing feel female chorus.

1st stanza

The beat effect from 2.31 to 2.32 gives perfect kick start to stanza.

Udit's line, HAAINNNNNNNNN (prolonged vocals give kick) HOO-OOO-OOO (awesome laidback gradual twist) from 2.32 to 2.37

Udit's line, GAWARAAAAAAAA (prolonged vocals give kick) HOO-OOO-OOO (awesome laidback gradual twist) from 2.46 to 2.50

The accompanying female chorus along with Udit's repetitive hooks from 2.39 to 2.41 & 2.53 to 2.55 give awesome overall sooth feel.

The string instrument from from 3.01 to 3.02, 3.06 to 3.07 & 3.28 to 3.29 is likeable.

Between 1st & 2nd stanza, a pleasantly mesmerizing traditional flute/plays pattern plays, with emphasis at 4.07 (naughty cute), from 4.09 to 4.10 (awesome feel). The tune sur from 4.12 to 4.13 is terrific.

2nd stanza

From here onwards, the song belongs to Alka who totally steals the show with her melodious vocals.

The beat effect from 4.15 to 4.16 gives perfect kick start to stanza.

Alka's line, PEEEEEEEEEEEE (prolonged voice shake vocals give HELL LOT OF SIKE) EEE-EEE-EEE (terrific laidback gradual melodious twist) from 4.15 to 4.20

Alka's line, KYAAAAAAAAAAA (prolonged voice shake give HELL LOT OF SIKE) AAA-AAA-AAA (awesome laidback gradual twist) from 4.29 to 4.34

The accompanying female chorus along with Alka's repetitive hooks from 4.22 to 4.25 & 4.36 to 4.39 give awesome overall melodious sooth feel.

The string instrument from from 4.45 to 4.46, 4.50 to 4.51 & 5.12 to 5.13 is likeable.

Alka's lines, KHWABO (haunt melody) at 4.40, OOOOOOO (pinch) at 4.52, BEECH RAAHON LAKE PHIR NA (great feel twists give halke se kick) from 4.54 to 4.57, GAAAAAAAAAAA (prolonged melodious voice shake) from 4.59 to 5.02, ME (high pitched striking melody) at 5.07, SANAM BEWAFA-AAA-AAA-AAA (awesome gradual 2 note descent) (high pitched striking melody) from 5.15 to 5.19

Until 5.38, Alka's melodious spell continues after which the soothing female chorus bring the proceedings to halt

Highlights of this song:

1. Alka melodious vocals that completely steal the show from 2nd stanza onwards till the very end.

2. Udit's soothing feel vocals.

3. Soothing female chorus, underlying tabla beat pattern for herione's latkas, jhatkas and thumkas, additional tabla beats for sahi desired effect and pleasant traditional flute / bansuri.

4. The male classical vocals between mukhda & 1st stanza.

This is a VERY REFRESHING SONG, just like BAN JAAIYE from SILSILAY.

Aap Ki Khata

Shaan begins soothingly in unplugged setting, note how he says BARDAAAAAAAASH, nahi hota (from 0.41 onwards)

The indian string instruments (Himesh uses them a lot) and the typical Indian love duet beats kick in

From 1.03 to 1.06, note how the musician flicks through the keyboard from low notes to high notes i.e. from left to right (splendid)

From 1.16 to 1.18, note how the tabla beat hits 3 times to begin the mukhda.

Shaan's line, BARDAASHT NAHI HOTA (HISTORY typical unique HR melody) from 1.35 to 1.38

From 1.43 to 1.44, behind the word KHATA, 3 tabla beats hit thus giving great timing

At 1.58, INTHEAYI, followed by keyboard tune 3 notes (normal down down), great sur

At 2.06, aap ki khata, tune (normal up 3 notes), bewafaaiye, tune at 2.10 (normal up 2 notes up 3 notes)

Alka's lines, BARDAASH (striking ultimate melodious effect) at 2.34 is one of FINEST use of Alka's voice to create history melody by Himesh.

Alka's line, JAANE(terrific classical twist) KYUN at 3.00

Between 1st & 2nd stanza, a great RAAGA instrument plays until 3.20, followed by trumpet and soothing female background chorus.

1st stanza

At 3.58, KETHE, the tune giving sur, BURE HO TUM at 4.01 (after which the tune giving sur), SABHI (tune giving sur at 4.09), GUSTAKHIYA (tune giving sur at 4.13), KHATA (tune giving sur at 4.22) BEWAFAAIYEE (tune giving sur at 4.25)

The typical string indian instrument plays between 1st and 2nd stanza

Note how the raga instrument joins this string instrument from 5.01 to 5.06 to create great overall effect

2nd stanza

At 5.12, KHAMOSHAIYA (melody), at 5.24, KHA(lower classical twist KAMOSHIYON, at 5.33 onwards, again KHAMOSHIYAAN (great pinching melodious effect).

Highlights of this song:

1. Shaans vocals from 1.34 to 1.37 is the BEST MELODY/PART of the song

2. Alka's ever melodious vocals at 2.34, BARDAASH (striking ultimate melodious effect)

3. Keyboard tunes giving sahi sur at sahi waqt.

This is another beautiful melodious indian duet by himesh reshammiya.

Janabe Ali

There had to be at least one item number in a pre-ABA Himesh album and Bardaasht was no exception.

The song begins with a groovy sound and beats that have an INTERNATIONAL FEEL to them.

The female chorus cannot be far behind in a pre-ABA song, can it?

It didn't matter if it was a love duet or a peppy number.

The soothing female chorus kicks in from 0.18 onwards followed by the male rap vocals that get the adrenaline rolling and this is only enhanced by the bazz trumpet from 0.49 to 1.03 that HR uses mostly for SIKE purposes.

The underlying foot tapping peppy beats hit it from 1.04 onwards.

Jayesh goes about his usual business along with intermittent male rap vocals (CULT from 0.43 to 0.54.

A stronger dose of the drum-roll beats at 1.34, 1.50 & 2.06 in TU HAI KAMAAL from AAP KI KHATIR.

Shaan's line, AA MILALE (awesome sooth feel) at 1.35 & 1.50

The classical twist in lines, TAAL SE from 1.58 to 2.00

From 2.06, the song adapts a classical approach and it is a deadly combination with a western arrangement and rap vocals.

Shaan's line, HAAL (halke se twist) at 2.08 is awesome.

The prolonged male vocals HIT IT are great.

The tune beat pattern from 2.18 to 2.22 is catchy and so are the lines TAAL SE TAAL from 2.22 to 2.29 that are very catchy and typical unique HR melody.

Between mukhda and 1st stanza the rap is wicked (TOTALLY CULT from 2.4 to 2.47) followed by new-age tabla beats and Arabic beats.

1st stanza

The composition is catchy and vocals are soothing feel good.

The lines JAAYE * 6 along with soothing female chorus are very easy on ears. HR is master of repetitive catchy hooks!

The lines SHAIYRI, AASHIQUI have halke se twist and MOSQUI is awesome lyric selection.

Between 1st and 2nd stanza, the very catchy TAAL SE TAAL is back followed by an even more catchier classical TAAL SE TAAL from 3.55 to 4.02, and the prolonged twist in taal se TAAAAAAL is off-da-hook.

Lovely synthetic piano piece plays after this typical unique HR melody.

2nd stanza

The lines BAAJE, DHAAGE * 6 along with soothing female chorus are very easy on ears.

The classical twist in SAAL at 4.43

The song finishes with clap beats along with energetic rap and Jayesh's vocals followed by heart beat sound.

Highlights of this song:

1. Soothing female chorus, male rap and jayesh's croons.

2. The bazz trumpet, underlying foot-tapping beats, TU HAI KAMAAL type drum-roll beats, piano and Arabic tune.

3. The classical approach in a westernized song setting with an international feel, with catchy repetitive hooks.

4. This song can brighten mood of listener and bring smile on listeners face (also due to male rap vocals that roll it with perfect timing).

Dil Mera Dil (Female)

Alka yagnik opens this song with melodious vocals in unplugged mode with emphasis on NEEEE (melody) at 0.18, KARUUUUU(aawaz mein goonj) from 0.22 to 0.23, NEEEEE(melody) from 0.28 to 0.29, KYA (feel twist) 0.38, RUUUUUU(prolonged twist) from 0.40 to 0.42

The typical household string instrument is back along with MINDBLOWING flute piece from 0.56 to 0.57, 0.59, 1.02, 1.04

Alka goes full pitch throttle from 1.06 onwards with emphasis on DILLLL(prolonged pinch) from 1.07 to 1.10, AAJ BHI TUMHE DIL PYAR from 1.17 to 1.20

The female chorus UUU from 1.09 to 1.10, 1.14 to 1.16 gives awesome overall effect.

The continuous descending faint tune sur from between 1.24 and 1.30 along with string tune sur at 1.25, from 1.27 to 1.28 gives amazing overall effect to Alka's lines.

The tabla beat pattern from 1.32 to 1.33 gives good intermittent effect.

The keyboard tune sur between 1.40 and 1.51 is great.

Udit's LA LA LA are feel good.

Between mukhda and 1st stanza, the string instrument is back followed by wonderful female chorus.

1st stanza

The 3 lazy beats used from 2.52 to 2.53 were also used in KABHI NA SUKUN AAYA (KOI AAP SA) from 1.21 to 1.22 and AAP KI KHATA (BARDAASHT) from 1.43 to 1.44

The lines from 2.51 to 3.11 remind of stanzas of YEH DIL TOH MILA HAI (DIL NE JISE AAPNA KAHAA)

The trumpet tune sur between 3.04 and 3.11 gives great feel effect to Alka's lines.

The old-style drum skip in lines from 3.12 to 3.23 give a traditional outdoor feel, with emphasis on Alka's lines NE at 3.13, SE at 3.16, badLE at 3.19, BEwafai at 3.22

Between 1st and 2nd stanza, the fast paced tabla pattern is great and it reminds of the fast paced tabla beats HR uses in his sufi-rwak songs like ABA in between 1st and 2nd stanza, same spot! The keyboard piece follows with some feel factor. The female chorus effect is soothing.

2nd stanza

The fast paced tabla beats from 4.34 to 4.35 were also used in KYUN KI ITNA PYAR (KYUN KI) from 3.10 to 3.11

The lines from 4.22 to 4.54 remind of stanzas of YEH DIL TOH MILA HAI (DIL NE JISE AAPNA KAHAA)

The trumpet tune sur between 4.46 and 4.53 gives great feel effect to Alka's lines.

The old-style drum skip in lines from 4.55 to 3.23 give a traditional outdoor feel, with emphasis on Alka's lines JEETI at 4.58, PEETI at 5.04

The female chorus along with string instrument finishes off the song.

Highlights of this song:

1. Alka's melodious vocals and soothing female chorus.

2. The string instrument, mind blowing flute piece, continuous descending tune sur along with string tune sur, trumpet in stanzas.

3. Kabhi na sukun aaya styled 3 lazy beats and Kyun ki itna pyar styled fast paced tabla beats in beginning of stanzas.

Na Na Na Re

The song begins on a retro groovy note with Alisha Chinoy croons after which an awesome oriental flute plays.

From 0.46 onwards, Alisha gets naughty and seductive with I WANT TO HUG YOU KISS YOU LOVE YOU SANAM * 2

Off-da-hook hit pattern from 0.36 to 0.37

The awesome naughty cute rising tune from 0.54 to 0.55

The cunning funky sound at 1.01 to 1.02 was similarly used from 2.01 to 2.02, 2.17 to 2.18, 3.12 to 3.14 & 3.28 to 3.29 in YE LADKI from MAINE PYAAR KYUN KIYA

KK's croons HAAAAAAAA (awesome) from 1.03 to 1.04

The retro groovy beat from 1.07 to 1.10 behind KK's feel good lines is off-da-hook.

Between mukhda & 1st stanza, the random abrupt drum beat pattern from 1.19 to 1.20 & 1.45 to 1.46 gives sahi desired effect as if the musician was testing them out. The awesome oriental flute theme piece plays from 1.20 to 1.28 (this flute was used at start of CHURA LIYA HAI TUMNE TITLE TRAX and AAHKIYAAN LADA JAA from BLACKMAIL), and cheeky vocals join in from 1.29 to 1.37 to form an overall naughty combo. The feel good harmonica piece plays from 1.38 to 1.44

1st stanza

The underlying bazz fluctuating sound is of great cause to compliment the underlying beat effect.

Alisha's lines OOH MERE PIYA (INCREDIBLE melodious desperation emphasis) from 1.46 to 1.48 & YEH MERA JIYA ((INCREDIBLE melodious desperation emphasis) from 1.55 to 1.56

Kunal's line, PIYA (TERRIFIC passionate soothing feel) from 1.48 to 1.49, AISA ASAR HAI (TERRIFIC emphasis) from 1.53 to 1.55, JIYA (TERRIFIC passionate soothing feel) from 1.57 to 1.58, MUJHE NAA (TERRIFIC high-pitched desperation emphasis) KHABAR HAI from 2.02 to 2.04

Alisha's lines from 1.49 to 1.53 & 1.58 to 2.02 are terrific in terms of melodious composition pattern (take a bow!) and vocals.

The cunning funky sound from 2.04 to 2.05 was also used from 2.01 to 2.02, 2.17 to 2.18, 3.12 to 3.14 & 3.28 to 3.29in YE LADKI from MAINE PYAAR KYUN KIYA

The awesome continuously descending tune sur from 1.56 to 2.05 is of great cause for overall effect.

KK's lines, BHEENI (cute) at 2.08

The retro groovy beat from 2.09 to 2.12 behind KK's feel good lines is off-da-hook.

Between 1st & 2nd stanza, the female croons from 2.33 to 2.35 are naughtily seductive and with seductive feel until 2.49, followed by awesome oriental flute theme piece and the random abrupt drum beat pattern from 2.58 to 2.59 gives sahi desired effect as if the musician was testing them out.

2nd stanza

The underlying bazz fluctuating sound is of great cause to compliment the underlying beat effect.

Alisha's lines TU MUJHE BATA (INCREDIBLE melodious desperation emphasis) from 2.59 to 3.00, KYA TUJHE PATA ((INCREDIBLE melodious desperation emphasis) from 3.08 to 3.09

Kunal's line, BATA (TERRIFIC passionate soothing feel) from 3.01 to 3.02, JHO DIL ME HAI (TERRIFIC emphasis) from 3.06 to 3.07, PATA (TERRIFIC passionate soothing feel) from 3.09 to 3.10, MUSHKIL MEIN (awesome subtle desperation emphasis) HAI (feel twist) from 3.15 to 3.18

Alisha's lines from 3.02 to 3.06 & 3.11 to 3.14 are terrific in terms of melodious composition pattern (take a bow!) and vocals.

The cunning funky sound from 2.04 to 2.05 was also used in YE LADKI from MAINE PYAAR KYUN KIYA at 2.01 to 2.02, 2.17 to 2.18, 3.12 to 3.14 & 3.28 to 3.29

The awesome continuously descending tune sur from 3.09 to 3.18 is of great cause for overall effect.

KK's lines, AASHIQ (halke se feel) from 3.21 to 3.22

The retro groovy beat from 3.21 to 3.24 behind KK's feel good lines is off-da-hook.

The awesome naughty cute rising tune from 3.33 to 3.34 & 3.42 to 3.43

The cunning funky sound from 3.29 to 3.30, 3.48 to 3.49, 3.52 to 3.53 & 3.57 to 4.01 was similarly used from 2.01 to 2.02, 2.17 to 2.18, 3.12 to 3.14 & 3.28 to 3.29 in YE LADKI from MAINE PYAAR KYUN KIYA

The awesome oriental flute theme piece along with subtle melodious feel good croons join in from 3.51 onwards till end.

Highlights of this song:

1. Alisha Chinoy's terrific melodious vocals with a lot of meaning and purpose.

2. KK's passionate vocals with soothing feel and desperation emphasis.

3. The naughty / cheeky / feel good female vocals and female croons with seductive feel.

4. The groovy retro feel in underlying beat effect, the awesome oriental flute piece, awesome naughty cute rising tune, feel good harmonica piece between mukhda & 1st stanza, random abrupt drum beat pattern as if the musician was testing them out, underlying bazz fluctuating sound in stanzas & awesome continuously descending tune sur.

This song contains TERRIFIC melody by HR, especially in the stanzas (TAKE A BOW!) as compared to the mukhda and yet surprisingly it does 'not' have his trademark signature stamp and is 'uncharacteristic' of him.

(tab=Silsilay Mulakaton Ke (Instrumental)}

My Picks

1. Aap Ki Khata

Best melody in song is in Shaan's and Alka's mukhda line, BARDAASHT NAHI HOTA (HISTORY typical unique HR melody with full on high pitch vocals) from 1.35 to 1.38 & 2.34 to 2.36

2. Na Na Na Na Re

Stanzas are damn catchy in Alisha Chinoy's voice, O Mere Piya (off-da-hook high pitch) Teri Chaaton Ka (off-da-hook melody) Aisa Asar Hai (typical unique HR melody), Yeh Mera Jiya (off-da-hook high pitch) Kahaan Hai Kidhar Hai (off-da-hook melody) Mujhe Na Khabar Hai (typical unique HR melody) from 1.46 to 2.02 in 1st stanza, Tu Mujhe Bata (off-da-hook high pitch) Kahun Ya Kahun Na (off-da-hook melody) Joh Dil Mein Hai (typical unique HR melody), Kya Tujhe Pata (off-da-hook high pitch) Meri Har Tamannah (off-da-hook melody) Mushkil Mein Hai (typical unique HR melody) from 2.59 to 3.14 in 2nd stanza have catchy typical unique HR melody.

It is a Serene Ballad. Underlying beat pattern is groovy with good dose of bazz, which gets listener into da zone. Lovely mesmerizing oriental flute piece from 0.18 to 0.27, 1.20 to 1.29 & 2.49 to 2.58, Off-da-hook profound drum hit pattern at 1.20, 1.46, 2.30 & 2.59 gives kick. Off-da-hook hit pattern from 1.14 to 1.15, 2.15 to 2.16 & 3.28 to 3.29 catches listener's pulse, Awesome funky trumpet piece at 1.01 to 1.02, 1.45 to 1.46, 2.04 to 2.05, 3.29 to 3.30 & 3.48 to 3.49 Seductive female vocals in between 2nd stanza gap. Continuous background tune behind stanza vocals that make them overall catchier.

3. Silsilay Mulakaton Ke

4. Janabe Ali

5. Dil Mera Dil Na Maane

Joomla! Debug Console