Tera_mera_dil

Music Review Analysis of Himesh Reshammiya's pop album Tera Mera Dil (2003) featuring Salman Khan.

Full review after a few days.

Tera Tasavur

The best song of da album begins with a groovy phone line tone in unplugged mode.

The rwakin underlying catchy retro bazz sound that was similarly used throughout as an underlying base in NA NA NA NA RE from BARDAASHT kicks in from 0.13 onwards.

Suzanne D’Mello croons with her seductive feel croons, with emphasis on ONLY YOU (OFF-DA-HOOK fulltu high pitched) from 0.31 to 0.33

The main underlying rhythmic beats kick in from 0.39 onwards.

The male and female vocals in party mode urge on da listener from 0.43 to 0.53

The feel good funky guitar piece plays from 0.53 to 1.02 followed by off-da-hook fast drum-roll beats from 1.02 to 1.03

Roop Johrie croons da mukhda lines along with off-da-hook intermittent groovy tune from 1.02 to 1.10

Her lines along with rwakin groovy retro sound from 0.15 to 0.16 followed by rwakin semi plugged beats from 1.15 to 1.22 are the BUILD UP part followed by OFF-DA-HOOK drum hit pattern followed by OFF-DA-HOOK catchy voice rise from 1.24 to 1.25 which delivers da VOCAL / INSTRUMENTAL KILL effect. This is the BEST part in da song that brings da listener into da groove.

The song is in full form from 1.25 onwards with Udit’s vocals, main underlying beats and off-da-hook intermittent groovy tune.

The composition of the core mukhda line TERA TASAVUR KIYE JAH RAHE HAIN, MAZA AASHIQUI KA LIYE JAH RAHE HAIN is simple well structured yet catchy.

The naughty feel good female croon HEY YA from 1.47 to 1.48 catches da listeners pulse.

Between mukhda & 1st stanza, Suzanne returns with her seductive feel croons from 1.50 to 2.13 with emphasis on line ONLY YOU (off-da-hook fulltu high pitched) from 2.04 to 2.06, a wicked funky sound plays from 2.15 to 2.16

1st stanza

The composition pattern of Roop’s lines, TERI HAR ADA * 3 from 2.18 to 2.22 and Udit’s lines, TERA YEH NASHA * 3 from 2.26 to 2.30 consists of catchy repetitive hooks which was a hallmark trait of Himesh – the pre ABA composer.

The intermittent groovy sound is of great cause.

Udit's line, JAANIYA (awesome halke se desperation plea) from 2.31 to 2.32

Between 1st & 2nd stanza, the female seductive croons return from 2.57 to 3.06 followed by feel good funky guitar piece from 3.06 to 3.15

2nd stanza

The composition pattern of Udit’s lines, MACHALNE LAGA * 3 from 3.18 to 3.22, PIGHALNE LAGA * 3 from 3.25 to 3.28 consists of catchy repetitive hooks which were a hallmark trait of Himesh – the pre ABA composer.

The intermittent groovy sound is of great cause.

The naughty feel good female croons HEY YA towards da end catch da listener’s pulse.

Highlights of the song:

1. Roop’s and Udit’s feel good vocals.

2. The underlying fluctuating groovy retro sound, rwakin semi-plugged beats and main underlying rhythmic beats.

3. Groovy phone line tone at start, off-da-hook intermittent groovy tunes, off-da-hook drum hit pattern, fast drum-roll beats and funky feel good guitar and wicked funky sound at end of 1st stanza gap.

4. Suzanne’s seductive feel croons with emphasis on ONLY YOU (fulltu high pitched), naughty feel croons HEY YA that catch da listener’s pulse and additional party mode vocals that urge on da listener.

5. Sameer’s simple lyrics that rhyme.

All in all, it is a simple well structured composition with catchy repetitive hooks, along with catchy groovy retro orchestration and intermittent seductive feel naughty feel good croons.

Honey Honey

The starting seductive feel female croons and intermittent feel good male croons that build up the song.

Off-da-hook quick heavy beat effect from 0.11 to 0.12

The underlying rhythmic beat kicks in from 0.13 onwards.

The feel good female vocals HONEY HONEY HA HA HONEY HONEY are the tag lines of the mukhda.

Terrific catchy tune from 0.36 to 0.40

Quick beat effect from 0.57 to 0.58 gives great intermittent effect.

Himesh asks Kunal Ganjawala to sing with vintage arrogant feel vocals just like he asked Shaan to sing MOHABBAT HAI MIRCHI from CHURA LIYA HAI TUMNE and KK to sing TERE SANG EK SIMPLE SI COFFE and DILLI KI SARDI from ZAMEEN.

Catchy tune behind Kunal’s vocals from 1.32 to 1.35

Between mukhda & 1st stanza, the feel good male vocals along with feel good guitar riffs from 1.44 to 1.51 signify as if a party is going on Caribbean Kabana style, followed by quick heavy beat effect from  1.51 to 1.51 and naughty female croons and funky male vocals from 1.53 to 2.01

1st stanza

Off-da-hook raw drum hit pattern from 2.07 to 2.08 in unplugged mode kick starts the stanza.

Kunal’s and Roop’s lines YEH PYAR PYAR PYAR (catchy repetitive hooks) from 2.10 to 2.15 & 2.22 to 2.28 are similar to the core mukhda tag line YERI YAAD YAAD (catchy repetitive hooks) from 1.05 to 1.10 in TERI YAAD from VAAH! LIFE HO TOH AISI.

The naughty female croons WOOOU from 2.27 to 2.29 give great completeness effect to Roop’s lines.

A grand trumpet from 2.17 to 2.18 & 2.31 to 2.32 was similarly used from 2.23 to 2.26 (extended) in OM NAMO NARAYAN from DASHAVATAR.

Between 1st & 2nd stanza, funky vocals accompany a car brake skid effect from 2.45 to 2.47 followed by seductive feel female vocals from 2.47 to 2.56 followed by a feel good funky tune piece from 2.57 to 3.05

2nd stanza

Off-da-hook raw drum hit pattern from 3.12 to 3.13 in unplugged mode kick starts the stanza.

Roop’s lines KYUN MAST MAST (catchy repetitive hooks) from 3.15 to 3.20, and Kunal’s lines HAR WAQT WAQT (catchy repetitive hooks) from 3.27 to 3.31 are similar to the core mukhda tag line YERI YAAD YAAD (catchy repetitive hooks) from 1.05 to 1.10 in TERI YAAD from VAAH! LIFE HO TOH AISI.

The naughty female croons WOOOU from 3.20 to 3.22 & 3.22 to 3.24 give great completeness effect to Roop’s and Kunal’s lines.

A grand trumpet from 3.21 to 3.22 & 3.36 to 3.37 was similarly used from 2.23 to 2.26 (extended) in OM NAMO NARAYAN from DASHAVATAR.

Kunal’s lines, SUNO JI SUNO (off-da-hook vintage arrogant feel vocals) from 3.38 to 3.40

Catchy tune piece from 4.04 to 4.06, 4.15 to 4.17 & 4.27 to 4.29 plays behind Kunal’s and Roop’s vocals.

Roop’s line, NA-AA-AA (terrific profound twist) from was similarly used in line SA-AA-AA (terrific profound twist) from 2.47 to 2.48 in SAJNA TERE PYAAR MEIN from KYA DIL NE KAHAA.

Majestic jingle effect from 4.38 to 4.41 ends the song.

Highlights of this song:

1. Kunal Ganjawala’s vintage arrogant feel vocals and Roop Johrie’s feel good vocals.

2. Underlying rhythmic beats and off-da-hook drum hit pattern at start of both stanzas.

3. Off-da-hook additional quick beat effects, grand trumpet piece in both stanzas, car brake skid effect in between 1st stanza gap, feel good funky tune piece in between 2nd stanza gap and majestic jingle effect at end.

4. Female feel good vocals HONEY HONEY HA HA HONEY, female naughty feel vocals WOOOU and intermittent funky vocals in between both stanza gaps.

It is a vintage pop song due to its orchestration along with catchy repetitive hooks and female feel good vocals / male arrogant feel vocals.

It would have made up for that ‘must have item song’ if it was slotted in a usual pre ABA album.

Pyaar Ke Pench

The song begins with a majestic chime tune followed by a quick majestic keyboard flick from 0.09 to 0.13

The wicked funky synthetic sound plays from 0.14 to 0.22 along with semi plugged beats builds up the song.
 
The male croons join in from 0.24 to 0.30 along with intermittent drum skips. 

The main rhythmic beat kicks in from 0.33 onwards.

A laidback groovy tune piece plays from 0.38 to 0.46 followed by feel good female theme piece from 0.48 to 1.06

Off-da-hook quick beat effect from 1.05 to 1.06 & 1.33 to 1.34 gives kick start to mukhda lines.

Roop Johrie’s and Kunal’s lines CHAL DARIYA KINARE JAYENGE, HUM DIL KI PATANG UTAARENGE, NAMKEEN ZARA HO JAYENGE from 1.06 to 1.14 & 1.33 to 1.41 have catchy repetitive hook that was a trait of Himesh – the pre ABA composer.

Off-da-hook beat effect from 1.16 to 1.17 & 1.42 to 1.43 gives sahi desired intermittent effect.

Kunal’s line, PEE-E-E-E (awesome quick twist) from 1.47 to 1.48

Between mukhda & 1st stanza, male party vocals from 2.00 to 2.09 are followed by female feel good vocals from 2.10 to 2.15 & 2.20 to 2.25 along with intermittent cute tune from 2.16 to 2.20 & 2.25 to 2.30, followed by a laidback funky guitar piece from 2.30 to 2.39

1st stanza

Off-da-hook beat effect in unplugged mode from 2.40 to 2.41 kick starts the stanza.
 
Kunal’s line, AISA MAUSAM (typical unique HR melody) from 2.46 to 2.48

The continuous tune behind Kunal’s lines from 2.44 to 2.48 is catchy.

Feel good guitar riffs from 2.48 to 2.50 give good intermittent effect.

Roop sings with naughty tease vocals from 2.51 to 3.00

Between 1st & 2nd stanza, drum skips in semi plugged mode from 3.28 to 3.32 are joined in by female feel good Rajasthani vocals from 3.33 to 3.42, followed by laidback funky guitar piece from 3.47 to 3.56

2nd stanza

Off-da-hook beat effect in unplugged mode from 3.58 to 3.59 kick starts the stanza.

Roop’s line, MERI DHADKAN (typical unique HR melody) from 4.04 to 4.06

Feel good guitar riffs from 4.07 to 4.09 give good intermittent effect.

Wicked synthetic tune plays from 5.13 to 5.20 followed by off-da-hook quick beat effect from 5.20 to 5.22

Highlights of this song:

1. Kunal’s feel good vocals and Roop’s naughty tease vocals.

2. Underlying rhythmic beats, semi plugged beats, majestic chime tune, quick majestic keyboard flick, wicked funky synthetic sound, intermittent drum skips and laidback groovy tune piece at start.

3. Off-da-hook quick intermittent beat effects, at start of each stanza in unplugged mode and near da end.

4. Laidback funky guitar in both stanza gaps, intermittent cute tune in 1st stanza gap, feel good guitar riffs in both stanzas, catchy continuous tune in 1st stanza,

5. Female feel good vocal theme piece, female feel good Rajastani vocals in between 2nd stanza gap and party mode vocals in between both stanza gaps.

The song has laidback rhythmic orchestration and off-da-hook intermittent effects, along with feel good vocals and intermittent croons which enhances the chillax / chilled out / take it easy nature of this song.

In terms of composition tune, two distinct factors stand out i.e. CHAL DARIYA KINARE JAYENGE, HUM DIL KI PATANG UTAARENGE, NAMKEEN ZARA HOJAYENGE from 1.06 to 1.14 & 1.33 to 1.41 in mukhda which have ‘catchy repetitive hooks’ and lines AISA MAUSAM from 2.46 to 2.48 & MERI DHADKAN from 4.04 to 4.06 in stanzas which are ‘typical unique HR melody’. Both are typical traits of Himesh – the pre ABA composer.

Verdict

The songs Tera Tasavur, Honey Honey and Pyar Ke Pence have traces and stamp of typical unique HR melody.

The remaining songs do not have traces and stamp of typical unique HR melody.

My Picks

1. Tera Tasavur.

2. Honey Honey.

3. Pyaar Ke Pench

Best line in mukhda is Kunal Ganjawala's line,

PE-EE-EE (catchy quick twist) from 1.38 to 1.39 & 1.43 to 1.44

Off-da-hook quick heavy drum roll beats from 1.36 to 1.37 followed by off-da-hook table hit effect in unplugged mode 1.38 to 1.39 that catches the listener's pulse

the listener feels the underlying rhythmic foot tapping beat

4. Suni Raatein.

Tracklist

Honey Honey - Himesh Reshammiya
Pyar Ke Pench - Himesh Reshammiya
Teraa Tasavur - Himesh Reshammiya
Taqqdeer - Himesh Reshammiya
Sapno Mein Aya - Himesh Reshammiya
Sajan Bairi Aja - Himesh Reshammiya
Suni Raaten - Himesh Reshammiya
Soneya Ve - Himesh Reshammiya
Kaajar Bin Kajarari - Himesh Reshammiya

Honey Honey - Himesh Reshammiya

Pyar Ke Pench - Himesh Reshammiya

Teraa Tasavur - Himesh Reshammiya

Taqqdeer - Himesh Reshammiya

Sapno Mein Aya - Himesh Reshammiya

Sajan Bairi Aja - Himesh Reshammiya

Suni Raaten - Himesh Reshammiya

Soneya Ve - Himesh Reshammiya

Kaajar Bin Kajarari - Himesh Reshammiya

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