tum

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

Dil Toh Udne Laga

The song begins with a penetrating violin piece in unplugged followed by a synthetic tune from 0.23 to 0.32, after which the free-flowing beats kick in.

From 0.20 to 0.22, the tune is a rip-off BOYS ARE BEST from CHURALIYA HAI TUMNE on the lines from 2.21 to 2.23, 2.31 to 2.33, 3.18 to 3.20 & 3.28 to 3.30

From 0.43 to 0.53, the combo of raga and synthetic tune is great.

From 1.02 to 1.04, great tune sur.

From 1.11 to 1.13 & 1.32 to 1.34, the tune of lines 'sapne sanjotha hai dil' is inspired from BOYS ARE BEST and Shreya's vocals give an innocent kick.

Shreya's lines 'dheere dheere, chori chori (up note), kaise kaise (up note), meethe meethe (up note)' is great composition pattern.

At 1.13 & 1.34, jingle sounds i.e. phone ring.

Between 1.15 & 1.21, 1.36 & 1.41, the harmonica tune sur is effective.

Between mukhda & 1st stanza, the feel good harmonica tune plays in between the combo of raga tune and synthetic tune.

1st stanza

From 2.17 to 2.18, TERRIFIC soothing female chorus UUUU (up) UUUU (down).

From 2.18 to 2.19, HOSH (halke se feel).

At 2.23, 2.25 & 2.28, the quick keyboard flicks are good.

At 2.30, cute instrument plays.

From 2.35 to 2.36, great tune sur (up down).

From 2.53 to 3.02, the TERRIFIC soothing chorus is the highlight, with emphasis on UUUU (normal) UUUU (half note, BEST PART) at 2.59

Between 1st & 2nd stanza, good sharp piano piece plays followed by intense violin piece and feel good female chorus.

2nd stanza

At 3.35, TERRIFIC soothing female chorus UUUU (up) UUUU (down).

At 3.40, 3.42 & 3.45, the quick keyboard flicks are good.

At 3.48, cute instrument plays.

From 3.52 to 3.54, great tune sur (up down).

From 4.07 to 4.09, sapne sanjota hai dil (very innocently melodious cute).

From 4.11 onwards, the subtle chorus gradually kicks in.

From 4.42, the soothing female chorus is a musical treat/delight, with emphasis on UUUU (normal) UUUU (down half note, BEST PART) at 4.16

Highlights of this song:

1. The musical treat of female chorus with their soothing UUUU UUUU that TOTALLY STEAL THE SHOW.

2. The underlying BEAT PATTERN that goes hand in hand with vocals and gets the listener into the groove.

3. Shreya's innocently melodious cute vocals.

4. The combo of raga and synthetic tune, the harmonica tune piece and tune sur in stanzas that gives an interesting mix.

Kyun Mera Dil

The song starts with string instrument followed by flute piece.

Adnan croons subtle feel especially AA at 0.25

The quick descending keyboard flick from 0.55 to 0.56, 1.43 to 1.44, 3.28 to 3.29

The tabla beat pattern is awesome in the underlying beat from 1.03 onwards.

Jayesh goes about his usual business from 1.09 to 1.37, with emphasis on MERI at 1.23, HOO (quick twist) at 1.29, HOO (feel good) at 1.35

The keyboard pattern from 1.59 to 2.01 is cute, from 2.10 to 2.11 is likeable.

Between mukhda and 1st stanza, feel good violin tune plays followed by a trumpet piece and string based instrument.

1st stanza

The clap effect from 2.44 to 2.45

Adnan continues his subtle feel with emphasis on lines KAREEB (quick twist) at 2.43, 2.50, ISSE (quick twist) at 2.46, 2.53, KOOO (halke se feel good) at 3.01 is BEST PART

The tune sur at 2.57, 2.59, 3.00, 3.02

The manner in which Jayesh joins in from 3.07 onwards with the sur OOOOOO is awesome after which which he belts out some desperation plea croons.

Adnan's HO HO from 3.25 to 3.26 is with great feel factor.

Between 1st and 2nd stanza, feel good trumpet piece plays followed by string based instrument and flute piece.

2nd stanza

The clap effect from 4.12 to 4.14, 4.16 to 4.17

Adnan continues his subtle feel with emphasis on lines KARE-EE (feel good up twist) at 4.13, 4.20 and MARE-EE (feel good up twist) at 4.17, ,4.24, BIN (halke se feel good) at 4.30 is BEST PART

The tune sur at 4.25, 4.27, 4.29, 4.31

Great lyrics...CHAHE SUBAH HO YAH DUPAIR...RAATON KO YEH AAHE BHARE

Highlights of this song:

1. Adnan's soothing feel vocals (very good choice by HR) and Jayesh Gandhi's desperation plea croons.

2. The underlying tabla beat pattern that gives the sahi desired effect.

3. The string instrument, flute piece, trumpet piece, cute sound, clap effect, keyboard flick and pattern.

This is a very different and new approach and attempt by HR in terms of song structure and music arrangement.

Rehna Toh Hai

Himesh - the composer shows another facet of him with this sad song with a different approach of composition very unlike him in terms of his typical unique HR melody or trademark stamp.

The song starts with guitar riffs followed by an intense violin piece.

Alka begins proceedings with melodious feel vocals.

The raga instrument in between 0.52 & 1.01 enhances the sad mood.

Sanu sings with subtle feel and is aided by male haunt vocals, traditional flute and raga from 1.10 to 1.21

Between mukhda & 1st stanza, desperation plea male croons along with emotional raga tune followed by flute/bansuri piece.

1st stanza

Alka continues with her melodious emotional feel vocals and is complimented by raga tune and male haunt vocals to enhance the sad mood.

The quick upward rising piano flick from 2.40 to 2.41 was a trademark in pre-ABA days.

Between 1st & 2nd stanza, the traditional flute piece is followed by emotional raga tune.

2nd stanza

Sanu continues with subtle feel vocals and is complimented by raga tune and male haunt vocals to enhance the sad mood.

Highlights of this song:

1. More than anything else, this song displays the versatility of HR-the composer in terms of making a song without his usual elements, albeit with just about average outcome to cater the situational appeal.

Mera Dil Laile

The song begins with samba / Caribbean style beats.

Shaan's lines MERA DIL LAILE are a strange / funny mix with underlying beats and the lyric LAILE is neither impressive.

Shaan's lines from 0.54 to 1.17, 1.48 to 2.18 & 2.50 to 3.28 are feel good pedestrian.

The listener wants to dance in amusement on samba beats from 1.33 to 1.40, 2.35 to 2.41 & 3.45 to 3.49 as if they were in comedy circus.

The feel good trumpet plays from 1.41 to 1.47, 2.43 to 2.49 & 3.52 to end

This is an INDIAN – WEST INDIAN COMBO that backfired coz Shaan's vocals and samba beats sound a bizarre mix when in SYNC.

Once in a blue moon, every music director springs in a surprise in form of a WAYWARD MISS which creates a split-second doubt in mind of the listener whether they were a fan of that artist.

But then again, listeners become fans of an artist after considerable amount / numbers of hits and after they can associate with their trademark sound / stamp which in HR's case is referred to as TYPICAL UNIQUE HR MELODY.

Considering this fact, many congratulations to those who became a fan of HR due to this song [fun intended].

So in other words, this is an apology from HR but still fans could feel like doing Kiklu Kilku to his sweet cheeks, especially when he laughs/smiles [fun intended] coz an odd out miss is insignificant and doesn't matter one bit.

Sangdil Sanam

Another song that reminds of such a "groovy seductive feel" nature is DIDAVE from AABRA KA DABRA.

The song starts with female seductive feel vocals.

The catchy groovy phone line tone plays from 0.27 to 0.36

The underlying beat is laid back.

From 0.37 onwards, Anuradha sharma's vocals have full intention to help the heroine to entice the hero.

The funky trumpet piece plays from 0.59 to 1.04

A groovy tune plays from 1.08 to 1.09 & 1.34 to 1.35

Off-da-hook beat effect from 1.16 to 1.17

Anudadha's lines, SANAM-MMMM (prolonged penetrating) from 0.59 to 1.01, 1.06 to 1.09 & 1.20 to 1.21, ZARA ZARA * 2 (melodious effect) from 1.10 to 1.12 & 1.22 to 1.24

From 1.40 to 1.44, the loud female whispers EEA YE EEA are 'off-da-hook seductive' followed by whoosh effect.

Between mukhda & 1st stanza, the catchy groovy phone line tone plays followed by metal guitar piece followed again by the catchy groovy phone line tone.

1st stanza

The subtle laid back mood is carried on by Anuradha's seductive feel vocals, with emphasis on ZINDAGANI ADHURI (melodious pinch) from 2.25 to 2.26, MEEEIN (melody) at 2.36

The classical tabla beats along with classical sitar in between 2.30 & 2.39 is TERRIFIC MIX.

The cute groovy tune from 2.39 to 2.40, 3.04 to 3.05 & 3.16 to 3.17 was similarly used in

Kunal ganjawala's lines from 2.40 to 2.51 are effective along with soothing female chorus.

The funky trumpet plays from 2.55 to 2.59

Off-da-hook beat effect from 3.11 to 3.12

The soothing female chorus from 3.17 to 3.27 are terrific.

Between 1st & 2nd stanza, the classical sitar along with classical tabla is OFF-DA-HOOK EAST-WEST COMBO and is an innovative spin from a composer who thinks ahead of time and current trends. The catchy groovy phone line tone follows.

2nd stanza

Udit's subtle feel vocals bring even more 'thehrav' to the already laid back proceedings.

The classical tabla beats along with classical sitar in between 4.17 & 4.26 is TERRIFIC MIX.

The cute groovy tune from 4.26 to 4.27, 4.51 to 4.52 & 5.04 to 5.05 was similarly used in

The funky trumpet plays from 4.43 to 4.47

Kunal ganjawala's lines from 4.28 to 4.39 are effective along with soothing female chorus.

Off-da-hook beat effect from 4.59 to 5.00

Kunal and seductive soothing female vocals/chorus mark a perfect end to this seductive song.

Highlights of this song:

1. The music arrangement in terms of beats and instruments compliment the vocals to enhance the groovy seductive feel nature of this song.

2. The underlying laidback beats (max effect in stanzas), groovy phone line tone, funky trumpet piece, cute groovy tune and metal guitar enhance the seductive feel nature.

3. Anuradha's penetrating vocals, kunal's feel good emphasis vocals, udit's subtle feel vocals, loud female whispers, seductive feel female vocals and soothing female chorus.

4. The off-da-hook beat effect.

5. The interestingly innovative mix of classical Indian instruments with western oriented orchestration.

My Picks

1. Dil Toh Udne Laga.

2. Kyun Mera Dil.

3. Sangdil Sanam.

4. Rehna Toh Hai.

5. Mera Dil Laile.

Joomla! Debug Console