yeh_hai_jalwaa

Music review analysis of Himesh Reshammiya's album Yeh Hai Jalwa (2002).

O Jaane Jigar

This song is all about peppy feel good melody.

The song starts on a subtle note with a cheeky female voice followed by kumar sanu's subtle feel vocals in unplugged mode.

The keyboard tune pattern from 0.47 onwards is likeable and shift the song to a lively pace.

The andaaz styled beats unexpectedly kick in from 1.00 onwards and increase the tempo of the song.

The female that whispers the word JALWA in between 0.53 & 1.15 sounds cool and naughty.

The groovy sound with echo effect at 1.29 & 1.52

The keyboard pattern from 1.30 to 1.34 is likeable.

The female chorus UUUU from 1.34 to 1.38 & 1.58 to 2.01 is soothing.

The tabla hit pattern from 1.39 to 1.40 & 2.03 to 2.04 in unplugged mode gives sahi desired effect.

Sanu's line, MAAN JA (subtle feel) at 1.42 & 2.05 are the core melody of the mukhda.

Between mukhda & 1st stanza, the likeable flute / bansuri pattern with an innocent traditional feel setting from 2.10 to 2.20 gives halke se kick is followed by soothing female chorus.

1st stanza

The old styled quick beat effect at 2.32 gives perfect kick start to the stanza.

Sanu sings with soothing feel vocals on a simple yet catchy composition pattern and the accompanying tune sur is of great cause.

From 2.46 to 2.49, a peppy tune piece plays followed by gradually penetrating cheeky female croons.

The quick beat effect at 3.03 gives great intermittent kick.

A groovy sound with echo effect plays from 3.09 to 3.10

Between 1st & 2nd stanza, a feel good whistle piece from 4.05 to 4.12 followed by Alka's feel good melodious croons from 4.13 to 4.17 and soothing female chorus. The sitar piece from 4.20 to 4.27 along with profound tabla hit pattern in unplugged mode that gives kick) CONNECTS BIGTIME and CATCHES THE CLASSICAL PULSE of listener.

2nd stanza

The old styled quick beat effect at 4.29 gives perfect kick start to the stanza.

Alka arrives to take this song to a whole new level and her stanza is better.

She sings with her melodious vocals on a simple yet catchy composition pattern and the accompanying tune sur is of great cause.

From 4.42 to 4.46, a peppy tune piece plays followed by gradually penetrating cheeky female croons.

The quick beat effect at 5.00 gives great intermittent kick.
 
A groovy sound with echo effect plays from 5.06 to 5.07

Alka's line, BHAAAAAAAAAR (prolonged) - RRRR (terrific abrupt twist & instruments stop gives KICK) from 5.14 to 5.15

Alka's line, AAAA BHI JAAAAA (off-da-hook innocent plea melodious twist) from 5.20 to 5.21 which is a pukar that even the most ' katore/rigid dil ' wala hero cannot refuse and would give in.

Alka's line, AA (halke se feel, dheere ka jhatka zor se lage) at 5.39

The HISTORY classical sitar piece from 5.43 to 5.46 CONNECTS BIGTIME and CATCHES THE CLASSICAL PULSE of listener.

The fulltu high-pitched MALE TREBLE vocals (joined in by quick repetitive catchy tune) from 5.47 to end are HISTORY and one of the BEST melodies that a Himesh fan is EVER going to hear.

Highlights of this song:

1. Sanu's soothing feel vocals and Alka's melodious vocals.

2. The andaz styled beats, the tabla hit pattern, the traditional flute piece, groovy tune with echo effect, additional intermittent beat effects and the keyboard flicks.

3. The HISTORY classical sitar piece (terrific instrument selection, hats off!).

4. The soothing female chorus, cheeky female vocals & whispers.

5. The HISTORY treble male vocals at end crooning to the HISTORY album theme piece.

This is one of finest melodies by Himesh – the composer in that early pre-ABA era.

Dheere Dheere Aana

The song opens with one of the BEST melodies that a Himesh FAN will EVER hear.

The male treble vocals croon haaa (normal) haaa (up) until 0.04.

From 0.04 to 0.05, STUNNING MAGIC AND HISTORY HAPPENS when the male vocals suddenly touch highest note, along with INSTRUMENT TUNE PIECE (3 KEYS).

From 0.07 to 0.08, note the bazz trumpet tune (4 keys)

From 0.11, note how the voice prolongs the word HAAAAAAAAAA and leaves it with a dying effect.

At 0.15, the female vocals take over and croon TUM TA TANANNA & that only helps in the build up of this legendary composition.

At 0.26, udit narayan takes over and croons HE HE HE HE HAI.

At 3.32, note how the musician FLICKS through the whole keyboard from high to low notes.

At 0.34, the male vocals that started the song croons DUMM A TA DHUMM TA TA (awesome build up).

From 0.39 to 0.40, udit croons hai hai hAAAAIIIIEEAAAIIII (HISTORY).

At 0.44, the male vocals that started the song croon da da dAA(classical up down up)AAAA followed by a great tune piece at 0.46

The vocals croon da da dAAAAA (classical twist) at 0.49 & finally at 0.51, da (up note with abrupt leave in the end) AAAA & 3 echo effect.

What great build up to the song!

From 0.33 to 0.51, great mix of udit and male vocals that started the song to create magical overall effect.

At 0.54, Udit starts on rather subtle note with dheere dheere, the basic bazz beat hits & at 1.04 the whole beat kicks in.

At 1.25, Alka joins in & beat kicks in.

Note how the 1st bazz beat followed by the overall beat (great build up).

At 1.41, DILL (pinching melody).

At 1.47, the tabla beats (5 quick followed by 2 normal).

At 1.58, note how the female vocals WHISPER the word DEEWANA.

At 2.06, a feel good tune plays.

At 2.15, a harmonium piece plays on the lines of deewana deewana dil tera deewana.

At 2.24, note how the heavy drum beats hit in (3 beats, gap, 3 beats, gap, 2 beats), AWESOME build-up.

The beats in 1st stanza resemble the beats of TUNE ZINDAZI MEIN AAKE from HUMRAAZ.

From 2.42 to 2.53, note the tune sur given behind the vocals.

From 3.09 onwards, the musician plays with the drums as if he was testing them out.

From 3.26 to 3.27, Alka's LA LA LA LA (melodious).

The female chorus from 3.31 to 3.36 get naughtily melodious, just like a tease.

Alka's stanza has more malodious impact than Udit's stanza & it used to be HR's strategy to use the female singer in the 2nd stanza for love ballads.

From 3.29, immediate melodious impact with KAR GAYA TU AISA JAADU AAB RAHA NA DIL PE KAABU.

From 3.58 to 3.59, HOOOOOOOOOO (exceptional melody).

From 4.04, cute vocals.

At 4.15, UUDDDDDD (melodious), HAWAIYAAN(melody).

At 4.31, the song builds up again with only bazz beats.

At 4.41, full beats (great).

From 5.02 till end, HISTORY REPEATS ITSELF with male vocals and instrument, special mention at 5.06 (combined vocal and tune effect, HISTORY).

Highlights of this song:

1. Male croons HA HA HA, at start & end of the song along with tune piece, creating terrific overall melodious effect.

2. Udit nayaran especially in the beginning part with HE HE HE (splendid).

3. Alka Yagnik for depicting the true meoldy in 2nd stanza in this legendary composition.

4. Female chorus and also the underlying beats that build up the sike very well.

Carbon Copy

This is the ultimate Himesh song for 'Father-Son' relationship.

The treble male chorus YEAAAAA kick start the song followed by sike giving tune from 0.12 to 0.19 after which the full beats kick it.

Shaan emotionally wins over the listener with his HE HE HE LA LA LA and subsequent mukhda lines.

The tune sur at 0.54, 0.56, 1.00, 1.02, 1.04, 1.08 are very effective.

Note the lovely keyboard flicks of tune sur from 1.18 to 1.25 which is very sweet and likeable.

At 1.41, shaan's line floppy-IIIEEEE (deliberate artificial higher pitch) is feel good.

The harmonica tune between mukhda and 1st stanza gap followed by male vocals enhance the feel good nature of this song.

Also note the variation in the underlying beat from 1.43 to 1.44, 1.48 to 1.49, 1.53 to 1.43 and 1.57 to 1.58 is off-da-hook.

1st stanza

It is catchy in terms of melody.

Lyrics such as...INDIAN HAI HUM...connect.

The continuous tune sur from 2.17 onwards is the key.

The female vocal from 2.41 to 2.42 is very interesting combination.

Shaan's line, COPY-EEE-EEE-EEE-EEE (off-da-hook gradually rising 4 step artificial high pitch 'falsetto' voice) from 2.54 to 2.56

Between 1st & 2nd stanza, the soothing female chorus along with Shaan's line HE HE HE (off-da-hook prolonged catchy croon) strike a chord especially from 3.13 to 3.16. The sike giving tune returns.

2nd stanza

Kumar sanu arrives to tell the father's side of the story and also the emotional element.

The tune sur from 3.39 onwards is the key.

The lines...SAB YAAD HAI BHULA MAIN (high note) NAHI MAJBUR HOON BURA ME NAHI connect.

Sanu also excels in his semi-opera line at 4.16...carbon copy-IIIEEE(artificial high pitch).

The male catchy croon from 4.43 onwards to end along with off-da-hook foot tapping beat make the listener FEEL IT BIG TIME and give HELL LOT of SIKE in terms of feeling the father-son relationship.

Highlights of this song:

1. Shaan's carefree vocals and Sanu's emotional vocals until he assures TU HAI TERE PAPA KI CARBON COPY.

2. The sike giving male TREBLE vocals in beginning and end of song and the sike giving tune along with underlying beat pattern.

3. Meaningful lyrics that emotionally connect with the listener as well as innovative words like FAX, ZEROX, FLOPPY and finally killing the issue by the lines CARBON COPY.

4. The tune sur in mukhda and antara wherever mentioned.

Thanks Himesh and Sudhakar Sharma, me huun mere papa ki carbon copy and I feel it with this one.

Aankhen Pyaari Hain

The song begins with subtle male croons with a female chorus effect.

The song suddenly brightens up from 0.30 onwards with a feel good tune and peppy underlying beats.

The feel good male croons from 0.54 to 1.11 are catchy.

The drum beats at 1.16 are old styled near his debut days.

The funky sound at 1.20, 1.28, 1.53, behind Sanu's and Alka's lines gives a kick.

Sanu's lines from 1.32 to 1.42 are feel good and female chorus enhances this fact.

The beat effect and hit at 1.41, 2.06 and 1.44, 2.08 is great.

Note the rising pattern of the cute keyboard piece from 2.02 to 2.07

Between mukhda & 1st stanza, a feel good trumpet piece plays and the pattern at 2.15 was similar to pattern at 0.01 of INSHAH ALLAH from WELCOME.

1st stanza

The song suddenly takes a subtle route from 2.36 to 3.02 courtesy due to underlying beats and female chorus.

Emphasis on Alka's lines HALAAT from 2.59 to 3.00, 3.15

The song returns to its peppy self from 3.03 to 3.18

But once again the tempo changes from 3.19 to 3.34 due to the underlying clap effect, subtle vocals and soothing female chorus.

Emphasis on Sanu's lines MAN MERAA (feel good twist) from 3.29 to 3.30

The song picks up in tempo again from 3.34 onwards with the rising keyboard tune pattern

The theme piece plays from 3.50 to 3.55

Between 1st & 2nd stanza, the killer male croons (HISTORY) on the theme piece of the album followed by feel good tune.

2nd stanza

The song suddenly takes a subtle route from 4.17 to 4.35 courtesy due to underlying beats and female chorus.

Emphasis on Alka's lines KURBAAN from 4.32 to 4.33, 4.48, YEH JAAN HAI

The song returns to its peppy self from 4.36 to 4.50

But once again the tempo changes from 4.51 to 5.06 due to the underlying clap effect, subtle vocals and soothing female chorus.

The song picks up in tempo again from 5.07 onwards with the rising keyboard tune pattern.

Emphasis on Alka's lines PYAR (melody, high note) at 5.11

The theme piece plays from 5.22 to 5.28

The male croons join in at the end.

Highlights of this song:

1. Alka's melodious vocals and Sanu's subtle feel vocals.

2. The killer male croons (HISTORY) on the theme piece of the album.

3. Soothing female chorus.

4. The tempo changes in the song from peppy to subtle back and forth, the funky sound that gives a kick, theme piece and intermittent beat effect.

Himesh did a very smart thing to use his HISTORY killer/ripper theme piece of the album in virtually all of his songs. Sure, he is the master of marketing!

Chudi Khankayi Re

This is a very peppy feel good song.

A special mention for the female vocals singing cutely behind alka's vocals CHUDI,MEHNDI,BINDIYA etc.

From 0.54 to 0.55 & 0.59 a terrific tune instrument plays REAL QUICK (down up 1 note).

At 0.57 & 1.01, a terrific tune instrument plays REAL QUICK (down up 2 notes).

At 0.59, a terrific tune instrument plays real quick (down up 1 note).

This instrument and its effect/timing is OFF-DA-HOOK.

From 1.59 onwards, the chorus effect doing yeeah la la la la is good.

1st stanza

From 2.25 to 2.26 & 2.29 to 2.30, a bazz trumpet plays giving awesome sur.

Udit's line CHURAYEN-GEEEE (twist) from 2.42 to 2.43 is similar to MILNA-AAAA (twist) from 0.24 to 0.25 from TERA MERA MILNA (AKS - THE MOVIEE).

2nd stanza

From 3.58 to 3.59 & 4.02 to 4.03, a bazz trumpet plays giving awesome sur.

Alka's line APNA-AAAA (twist) from 4.15 to 4.16 is similar to MILNA-AAAA (twist) from 3.23 to 3.24 from TERA MERA MILNA from AKS - THE MOVIEE.

HISTORY happens when the male treble vocals croon from 5.07 onwards, HE HE HEHAAAA (HISTORY intense emphasis croon at 5.11) AAAI HE HE HE HE HE. This is one of the BEST tune piece that a fan IS EVER going to hear.

Highlights of this song:

1. From 5.08 to end, is one of the BEST typical unique HR melody pieces that a fan IS EVER going to hear.

2. Female vocals singing cutely behind alka's vocals CHUDI,MEHNDI,BINDIYA etc.

3. terrific tune instrument plays real quick (down up 1/2 note/s).

4. Bazz trumpet used effectively in both stanzas.

Carbon Copy - Sad

The song begins with Kumar Sanu's emotional feel croons followed by subtle traditional flute along with heavy drum hits after regular gaps.

The soothing female chorus kicks in from 5.37 onwards with feel factor.

The lyrics are touching from a father-son's relationship perspective.

The female chorus from 6.10 onwards followed by flute piece from 6.24 onwards depicts all the emotions.

The original version is da ultimate Himesh 'father-son' relationship song. The sad version is a Himesh-Salman klassik. Rishi Kapoor thinks that Salman Khan is following him not outta emotional attachment but purely out of commercial interests i.e. money, as Rishi is a rich tycoon abroad. As they say, blood is thicker than water, but sometimes its sad that relationships have to be proved too i.e. unka saboot dena padta hai. So this heart-touching sad version comes in that part of da film which demands da ultimate test of life.

My Picks

1. O Jaane Jigar.

Sanu's line, MAAN JAA DILBAR (subtle feel vocals) from 1.39 to 1.46 & 2.02 to 2.09 along with tabla hit pattern that gives sahi desired effect is the BEST MELODY of the MUKHDA. The innocent feel bansuri from 2.10 to 2.20 gives halke se feel kick. Alka's melodious feel good croons LA LA LA (melodious feel good) LAAAAAAA (melodious prolonged) LA (abrupt leave that gives kick) from 4.12 to 4.19 is catchy. HISTORY sitar piece from 4.20 to 4.27 & 5.43 to 5.46 catches the listener's classical pulse. Alka's line, BHAAAAAAAAAR (prolonged) - RRRR (terrific abrupt twist & instruments stop gives KICK) from 5.14 to 5.15, AAAA BHI JAAAAA (off-da-hook innocent plea twist) from 5.20 to 5.21, AA (halke se feel, dheere ka jhatka zor se lage) at 5.39. The HISTORY high-pitched male croons from 5.47 to end are one of the BEST typical unique melodies.

2. Dheere Dheere Aana.

Underlying beat is laidback rhythmic. The high-pitched male croons from start to  0.14 & 5.02 to end are one of BEST typical unique HR melody pieces, especially HISTORY intense high note in SYNC with an additional tune key from 0.04 to 0.05 & 5.06 to 5.07. Udit's vocal alaap from 0.26 to 0.54 is catchy. Alka's lines from 3.49 to 4.20 give melodious sensation, with emphasis on line OOOOOO (OFF-DA-HOOK fulltu high-pitched alaap) at 3.59

3. Carbon Copy.

This is Himesh's ultimate father-son relationship song.

4. Chudi Khankayi Re.

BEST PART of song is intense high-pitched male croons from 5.08 to end which is one of the BEST typical unique HR melody pieces, especialy from 5.11 to 5.12 (HISTORY intense classical twist). The quick instrument from 0.54 to 1.02 and so on behind Sanu's vocals gives kick.

5. Aankhen Pyaari Hain.

Himesh talks about Yeh Hai Jalwa's music

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