Music review analysis of Himesh Reshammiya's album Kya Dil Ne Kahaa (2002).
Kya Dil Ne Kahaa
Alka kick starts this song in unplugged mode with her melodious vocals.
The female chorus from 0.26 onwards builds up the song tremendously and gives kick.
The feel good guitar piece joins in at 0.32 and only helps in build up process.
The quick rising keyboard pattern from 0.43 to 0.46 is awesome.
The underlying beats represent a traditional setting.
The traditional string-based raga tune from 0.48 to 0.59 is great.
The composition pattern is typical unique HR style.
The repetitive manner in which Alka sings the lines from 1.00 to 1.02, 1.08 to 1.10 is quite catchy.
The soothing female chorus was a trademark of that HR era and their croons in between Alka's and Udit's lines are soothing.
The old styled drum beats from 1.17 to 1.18, 1.45 to 1.46 provides good intermittent effect.
The line KAHAAAA from 1.22 to 1.23, 1.50 to 1.51 is best melody of the mukhda.
The tune sur at 1.21, 1.23, 1.26, 1.48, 1.51, 1.54
Udit sings with subtle feel.
Between mukhda and 1st stanza, the traditional raga tune is back along with feel good female vocals and string instrument.
1st stanza
The sur MMMMM that Alka catches from 2.18 is phenomenal
Udit's energy filled HAAH at 2.23, 2.26, 2.28, 2.32, 2.34, 2.37, 2.40 gives the sahi desired effect and the listener feels it. It is very good creative innovation by HR.
In terms of melody, the best stanza lines are from 2.29 to 2.31, 2.40, 2.42.
The wind breeze effect in unplugged mode brings feel factor into play.
The best lines continue from 2.43 to 2.48 with emphasis on DIL(classical twist) at 2.43, LIKH-YYYY(gradual feel voice rising) at 2.45
Between 1st and 2nd stanza, the male haunting vocals along with soothing female chorus gives an interesting mix followed by string based classical instrument and pleasant flute piece.
2nd stanza
The sur OOOOOO that Alka catches from 3.30 is phenomenal
Udit's line SORRY at 3.35 is very well sung with emphasis that he really means it.
Alka's energy filled naughty HAAH at 3.35, 3.38, 3.41, 3.44, 3.47, 3.49, 3.52 gives the sahi desired effect and the listener feels it.
It is very good creative innovation by HR.
In terms of melody, the best stanza lines are from 3.42 to 3.44, 3.53 to 3.55.
The wind breeze effect in unplugged mode brings feel factor into play.
The best lines continue from 3.55 to 4.00 with emphasis on NEEE(classical twist) at 3.56, THOOO(gradual feel voice rising) at 3.58
The traditional string based raga ends the song.
Highlights of this song:
1. Alka's melodious vocals and Udit's subtle feel vocals.
2. The female chorus (especially in start build-up), guitar piece, rising keyboard pattern, traditional raga tune, old drum beats and tune sur wherever mentioned.
3. Whatever is mentioned as best melody in mukhda and stanzas.
4. Udit's and Alka's HAAH that compliment and support each other.
This song is all about feel good melody along with feel factor.
Earlier albums like this differentiated HR's distinct melody from other composers.
This is not ordinary melody, as the composition pattern if tried on the keyboard is unique that is very hard to firstly create and secondly replicate.
That's why I refer to it as "typical unique HR melody".
Nikamma Kiya Is Dil Ne
Jaspinder narula opens this song with her melodious penetrating vocals especially the line HAAAI (feel good twist) AAAAAI (prolonged voice deepening) from 0.47 to 0.49
A trend is noticeable at the start of some HR songs in that era, and that trend was to use some heavenly majestic continuous keyboard sound in unplugged mode i.e. in this song from 0.04 to 0.18
The build up of the beats (especially the tabla pattern) from 0.18 onwards is great.
The male vocals OH YEAH from 0.50 are great along with further build up beats.
The synthetic guitar tune pattern from 1.00 to 1.09 is catchy.
The female chorus is great build up both in unplugged mode and with full beats.
The mukhda is quite catchy along with peppy beats and feel good vocals.
Emphasis on lines NIKAMMA (additional female chorus croons) from 1.36 to 1.37, 2.15 to 2.16, 2.53 to 2.54, KIYA HAI (typical HR melody) from 1.42 to 1.43, 1.51 to 1.52, 2.59 to 3.00, AASHIQUI CHAHTA HAI ZINDAIGI UJARTAH HAI (very catchy)
Shaan's OOOO (quick twist) at 2.14 and 4.26 is great.
The trumpet tune sur from 2.33 to 2.42, 5.35 to 5.43 is very effective.
HR specifically asked Shaan to mould his singing style to sound energetic and feel good arrogant i.e. in lines MAAN TAH HAI from 2.48 to 2.52
Between mukhda and 1st stanza, feel good male vocals followed by soothing female chorus along with bazz trumpet effect. The vocal effect from 3.13 to 3.14 is innovatively wicked.
1st stanza
Sanjeevani's line KHAMKHAA from 3.41 to 3.42 is quite catchy.
The techno sound pattern in unplugged mode from 3.42 to 3.43
Her lines from 3.43 to 3.50 are great high pitched singing along with techno sound pattern.
Her lines from 3.50 to 3.56, the composition pattern is quite simple (just like a slogan on a single continuous note) but it is quite catchy.
The additional beats from 3.55 to 3.57, 4.28, 5.56 to 5.57 have great impact.
Between 1st and 2nd stanza, bindaas male vocals along with innovatively wicked vocals at 4.46 followed by trumpet and theme guitar piece.
2nd stanza
Shaan's line DHADKANEE from 5.10 to 5.11 is arrogantly feel good.
The techno sound pattern in unplugged mode from 3.42 to 3.43
The techno sound pattern in lines from 5.11 to 5.18 is awesome.
His singing style from 5.18 to 5.25 really gets hold of the listener and gets them into da groove.
The additional beats from 5.23 to 5.25, 4.28 have great impact.
Shaan's line NEEEE (feel good twist) followed by soothing female chorus from 5.28 to 5.30
Shaan's line HAAAAAA (feel good twist) from 5.48 to 5.49
The female chorus joins in from 6.13 to end for great overall melody.
Highlights of this song:
1. Jaspinder's penetrating vocals, Shaan's adjusted singing style and Sanjeevani's high-pitched singing.
2. The peppy underlying beats, guitar theme piece, bazz trumpet effect, the techno sound in stanzas, and additional great impact beats.
3. The starting buildup process along with new-age tabla beat pattern and heavenly keyboard sound (jaise dhuan sa uth raha hai).
4. Innovatively wicked male vocals and soothing female chorus.
This is a winner for HR both in terms of melody and rhythm.
Sajna Tere Pyar Mein
The song starts with a raga tune followed by likeable female croons until 1.01, with emphasis on ORE (emphasis) from 0.59 to 1.00
Alka's line PYAAR (twist) at 1.07 to 1.08, 1.54 to 1.55 along with tabla beats in SYNC is great.
The rest of mukhda lines are likeable.
The male chorus from 2.01 to 2.10 is quite catchy.
Alka's line from 2.11 to 2.22 OH SAJAN (beat stops at 2.13, gives KICK) TU LEGAYA MAAN (waah, maza aa gaja).
Between mukhda and 1st stanza, the shehnayi tune is likeable followed by catchy female feel vocals, especially from 2.33 to 2.43, 2.47 to 2.48. The raw drum hits in SYNC throughout are great. The shehnayi plays on title trax tune.
1st stanza
Udit's lines from 2.59 to 3.09 are catchy, with emphasis KEH DO (halke se feel twist) from 3.00 to 3.01, KI-IIII (TERRIFIC gradual voice rise on higher note) at 3.03
The tabla beats from 3.00 to 3.01 give sahi desired effect.
Alka's melodious feel vocals along with traditional flute from 3.09 to 3.17 are likeable.
Alka's vocals from 3.17 to 3.20 are great build up.
Alka's melodious vocals from 3.20 to 3.25 have a sudden abrupt composition pattern with catchy repetitive hooks (along with great tabla pattern and drum hits in SYNC), also used for similar SUDDEN ABRUPT effect in stanzas of SARKE CHUNARIYA RE from RUN.
The energetic male vocals HAAI from 3.31 to 3.36 brighten the mood and atmosphere.
The tune sur from 3.50 to 3.56 is likeable and gives good effect to Alka's lines.
Between 1st and 2nd stanza, male desperation croons along with bansuri.
2nd stanza
Alka's lines from 4.13 to 4.18 are catchy, with emphasis pehne-GEE (halke se voice rise on higher note) CHUR (TERRIFIC feel twist) IYAAN from 4.16 to 4.17
The tabla beats from 4.14 to 4.15 give sahi desired effect.
Alka's melodious feel vocals along with traditional flute from 4.23 to 4.31 are likeable.
Alka's vocals from 4.31 to 4.34 are great build up.
Alka's melodious vocals from 4.34 to 4.38 have a sudden abrupt composition pattern with catchy repetitive hooks (along with great tabla pattern and drum hits in SYNC), also used for similar SUDDEN ABRUPT effect in stanzas of SARKE CHUNARIYA RE from RUN.
From 5.05 onwards, a gradual wind effect is followed by a quawali approach with semi – classical instruments and male croons, with emphasis on MILAA (emphasis twist) from 5.25 to 5.26.
From 5.55, classical female vocals followed by male and female croons on title trax mukhda tune that liven up the tempo of song again.
The song ends with a raga tune in unplugged mode.
Highlights of this song:
1. Alka's melodious feel and Udit's soothing feel vocals.
2. The additional male and especially the female vocals throughout the song.
3. Raga tune, pleasant traditional flute in stanzas, bansuri, tabla beats and drum hits in sync and shehnayi piece.
Piya Pyar Yeh
From 0.27 onwards, the faint trumpet kicks in for a short while.
From 0.32, the female chorus kick in with SA PA NE & from 0.44 onwards a lovely flute piece plays.
From 1.02 onwards, kavitha croons piyAAAAAAAAAAAAH (awaaz mein kya gehariye hai!), pyar yeAAAAAAAAAAAAAAAAH (tune sur from 1.10 to 1.11 & 1.16 to 1.18).
At 1.25, piyAAAAAAAAAAAH (down twist) & by this time the underlying beat has become RWAKIN and in total sync with the song.
From 1.30 to 1.34, PYAAAAR YEEE (twist) EEEEA, TYPICAL UNIQUE HR MELODY and BEST part of song.
From 1.40 onwards, the piano piece is nice.
From 2.04, PIYAAAAAAAAAH (progonged deepening) followed by piano piece is nice.
From 2.20 to 2.30, the tune is simply mesmerizing.
1st stanza
The line, me toh shaayar nahi, note the 2 set tabla beats at 2.38, 2.42, 2.46 & 2.50 (1st set 2 beats; 2nd set fast 6 beats).
From 2.55 onwards, hai wahi SHAAIYAREEEEEEEEEE (good melody feel).
Between 1st & 2nd stanza, tune along with bazz trumpet at 3.36 is mindblowing, followed by female chorus UUU.
At 3.47, the female alaap is great.
At 3.52, joined by painful male chorus that makes IMPACT.
From 3.58 onwards, a feelgood tune plays.
2nd stanza
The tabla set beats as mentioned in 1st stanza.
At 5.03, PRIYAAAAAAAA (prolonged), INSTANT ZABARDAAST IMPACT VOCALS.
From 5.10 to 5.14, pyar YEEEA (up down twist, HISTORY) AAEEEEAAAA.
From 5.27, PRIYAAAAAAAAAAAAAAAA (halke se up down sinking twist), PYAR YEEEAAAA (twist) EEEEAAAAAAA at 5.33 to 5.34 (uffffffffff, HISTORY, typical unique HR melody) along with RWAKING beat pattern and female chorus.
It is of my opinion that the portion after 5.42 could have been done away with but it must be an intergal part of the film.
The lines from 1.55 to 1.57, 2.51 to 2.53, 3.03 to 3.05, 4.35 to 4.37 & 4.53 to 4.55 have same tune of the line ROKE RUKE NA from 0.32 to 0.34, 2.04 to 2.06, 2.42 to 2.44 in NIKAMMA KIYA IS DIL NE.
Highlights of this song:
1. PYAR YEAAEEAA (twist) EEAAEEAA KIYA in both female and male (best part of song) vocals.
2. Female chorus.
3. The underlying rwaking beats that skip in their own unique way especially with great impact in lines piya pyaar kiya.
4. Tune pieces and vocals between gaps of both stanzas plus fast set of tabla beats in the stanzas.
5. Pleasant traditional flute and bazz trumpet.
Zindagi Yeh Dillagi
This song is about a rebellious lover who lives his life to the max fullest for the present on his conditions and doesn't give a damn to or worry too much about the long term future.
The background effect along with feel good male croons is as if the hero woke up on a new fresh morning.
The female chorus croons with a majestic background sound followed by funky rap is awesome build up to the song.
The beat effect from 0.39 to 0.40 is great
The underlying beats hit it from 0.40 onwards are similar to the underlying laidback beats in TUNE ZINDAGI ME AAKE from HUMRAAZ, along with a feel good household string instrument (with an inherent twist) that Himesh used mainly as theme tune piece and also in beginning of many pre-ABA songs.
The subtle whispers of the male whispers ZINDAGI enhance the feel good vocals.
The groovy sound pattern from 0.57 to 1.01 is fantastic.
The composition pattern is infectiously catchy.
Once again, the build up from 1.02 with male rap and techno sound that merge intermittently with shaan's voice is awesome.
Shaan sings with soothing subtle feel good vocals with emphasis on YEH (sooth) at 1.08, 1.13, HAI (sooth) at 1.11, 1.16, AAWARGI (emphasis) at 1.15, 1.22
Also note ZINDA(feel good classical twist)GIII, DILA(feel good classical twist)GIII
The beat effect from 1.16 to 1.17 is great.
The underlying beats remind of a peppier version of the ones used TUNE ZAINDAGI MEIN AAKE (HUMRAAZ)
Shaans prolonged TARAAAAAA from 1.27 to 1.39 along with groovy sound pattern and keyboard hits makes impact but the listener feels there is more to come in terms of completeness of melody.
Himesh –the composer completely kills it from 1.48 to 1.54 to complete the total melody effect and structure of the mukhda. Firstly, by the 'sudden abrupt' descent at 1.59 and secondly, the prolonged effect along with rising tune pattern from 1.50 to 1.55. Himesh, TAKE A BOW!
Shaans prolonged backup TARAAAAAA from 1.56 to 2.00 and by now, the listener totally feels it
Between mukhda & 1st stanza, the bazz trumpet plays along with feel good rap and female vocals. The drum-roll effect from 2.09 to 2.10 is great.
1st stanza
Himesh uses his age-old formula of catchy repetitive hooks from 2.36 to 2.39, 2.43 to 2.48, 2.52 to 2.54 & 2.59 to 3.01
The bazz trumpet effect at 2.48 is great timing.
From 3.07 to 3.09, the overall effect is OFF-DA-HOOK
Emphasis on shaan's lines RA(amazing feel good emphasis)VANGI at 3.13
Between 1st & 2nd stanza, more feel good male vocals followed by theme piece theme instrument and the keyboard effect along from 3.50 to 3.54 is great followed by groovy sound pattern.
2nd stanza
Himesh uses his age-old formula of catchy repetitive hooks from 4.02 to 4.04, 4.08 to 4.12, 4.18 to 4.20 & 4.24 to 4.26
The bazz trumpet effect at 4.13 is great timing.
From 4.32 to 4.34, the overall effect is OFF-DA-HOOK
Emphasis on Shaan's lines LAGEEE (very well sung) at 4.06, AACHA (feel good) LAGE from 4.22 to 4.23, NA-RAZ(straight emphasis singing)-GEE from 4.38 to 4.39
Once again the part of mukhda is back from 5.04 to 5.09
The soothing female along with Jayesh's usual croons finish off the song.
Highlights of this song:
1. Shaan's subtle feel good singing
2. Male rap, soothing female croons, male whisper and Jayesh's high piched croons.
3. The peppy underlying beat pattern, groovy sound, string theme piece, bazz trumpet effect in stanzas.
4. The lines from 1.48 to 1.54, 5.04 to 5.09 have the best melodious effect in the song.
5. The build up of the song in the start and off-da-hook effect from 3.07 to 3.09, 4.32 to 4.34
Taaza Taaza
The fast drum roll beats from 0.38 to 0.39 are similar to the drum roll beats from 0.22 to 0.25, 1.34 to 1.35, 1.54 to 1.55 in GUSTAKH DIL (DIL MANGE MORE), from 0.33 to 0.34 in BOYS ARE BEST (CHURA LIYA HAI TUMNE), from 0.57 to 0.58 in OH JAANA (TERE NAAM) and from 0.50 to 0.51, 2.23 to 2.24, 2.43 to 2.44 in KOI AAP JAISA (VAAH! LIFE HO TOH AISI).
The underlying peppy beat pattern is representative of the underlying beat pattern of GUSTAKH DIL (DIL MANGE MORE), BOYS ARE BEST (CHURA LIYA HAI TUMNE), TAAZA TAAZA (KYA DIL NE KAHAA) and OH JAANA (TERE NAAM).
The composition pattern from 0.52 to 1.11 is well structured, especially the word AAA(feel twist)ISHA (1st line, lower note) from 0.54 to 0.55, 1.05 to 1.06, AAAISHA (2nd line, lower note) from 0.59 to 1.01, 1.10 to 1.11. The soothing female chorus kicks in.
The tune of Shaan's line TERI AADAYEIN HAI MAST from 1.18 to 1.20, 1.26 to 1.28 is inspired from the line 2.21 to 2.22, 3.28 to 3.29 in BOYS ARE BEST (CHURA LIYA HAI TUMNE) and the drums hit in SYNC with these line from 1.34 to 1.35.
The continuous descending tune sur from 1.29 to 1.33 give good overall effect and this pattern was also used in O JAANA (TERE NAAM) from 1.31 to 1.37
Shaan's line ZABARDAAST(vigor) and NAZAKAAT(bindaas feel good).
Between mukhda & 1st stanza, shaan has some fun followed by guitar piece and soothing female chorus.
1st stanza
Alka's line CHUNA at 2.42, 2.52 is best melody of stanza.
The female chorus behind shaan's feel good lines give a soothing feel.
The drums hit in SYNC with Alka's line from 3.11 to 3.12.
Between 1st & 2nd stanza, a trumpet piece plays from 3.40 onwards and shaan has some more fun after that.
2nd stanza
Shaan's line GARMI HAI at 4.08 and Alka's line TERA CHANCHAL at 4.18 is best melody of stanza.
Alka's line AACHA at 4.25 makes the listener smile.
The drums hit in SYNC with Shaan's line from 4.26 to 4.27.
The descending continuous tune sur from 4.37 to 4.40 gives great overall effect and this pattern was also used in O JAANA (TERE NAAM) from 4.44 to 4.49
The female chorus joins in the end.
Highlights of this song:
1. Alka's melodious vocals, Shaan's feel good vocals and female chorus.
2. The peppy underlying beats, fast drum roll beats (in SYNC) and descending continuous tune sur from 1.29 to 1.33 & 4.37 to 4.40
My Picks
1. Nikamma Kiya
2. Kya Dil Ne Kahaa
The catchy soothing repetitive female chorus from 0.26 to 0.43 build up the song. The catchy folk piece from 0.48 to 0.59. Alka's BEST mukhda's lines are KAHAAA (TERRIFIC twist) from 1.22 to 1.24 & The tune piece in between 1.20 & 1.27, 1.48 to 1.55 gives completeness effect to preeceeding vocals. Alka's BEST lines in 1st stanza are YEH (TERRIFIC desperation plea twist) LIKHTE REHTE THE from 2.45 to 2.48. Alka's chirpy repetitive intermittent incroons HAAAH from 3.36 to 3.52 that depict masoomiyaat of a countryside gal that goes by her happy-go-lucky merry ways are quite effective along with Udit's catchy vocals with feel factor.
3. Piya Pyar Kyun Kiya
BEST part in song is Udit's lines in 2nd stanza, PRIYAAAAAA (prolonged catchy) from 5.03 to 5.-09, YEEEEE (OFF-DA-HOOK catchy twist) from 5.10 to 5.12, PYAAR YEEEEE (OFF-DA-HOOK catchy twist) from 5.33 to 5.36, that strike a chord with da listener.
4. Sajna Tere Pyar Me
BEST part in mukhda is Udit's catchy lines (along with male chorus) CHAR KI MITTI DIL KI CHITTHI ROKE TERA DAAMAN MEHNDI HALDI BINDIYA KAAJAL BADLE TERA JEEVAN from 2.01 to 2.10 followed by Alka's catchy melodious lines O SAJAN TU LEGAYA MANN from 2.11 to 2.21. A catchy shshnayi plays from 2.22 to 2.26 is joined in by catchy female croons from 2.27 to 2.48, with emphasis from 2.47 to 2.48 (OFF-DA-HOOK high notes) along with underlying profound drum hits. Udit's BEST lines in 2nd stanza are AANKHON KIIII SUNLE (OFF-DA-HOOK catchy) from 3.02 to 3.04. Alka's BEST lines in 1st stanza are, PALKE YEH CHALKE (sudden abrupt high notes) from 3.17 to 3.20 HAI KYA KARU (catchy melodious repetitive hook) from 3.20 to 3.24. Alka's BEST lines in 2nd stanza, PEHNEGI (OFF-DA-HOOK feel twist) CHUDIYAAN from 4.15 to 4.18, JAANE TU JAANU MEIN (sudden abrupt high notes) from 4.31 to 4.34, KOI KYA KARE (catchy melodious repetitive loop) from 4.34 to 4.38
5. Zindagi Yeh Dillagi
Shaan's opening lines ZINDAGI YEH DILLAGI HAI ZINDAGI AAWAARGEE HAI from 1.07 to 1.17 are feel good catchy. BEST PART of song is Shaan's lines TARAAAA - AA (sudden voice drop) at 1.50, AAAAAAA (prolonged) from 1.50 to 1.52 followed by gradually ascending combo of faint female chorus and tune in sync from 1.52 to 1.55, which gets da listener into da zone.
6. Taaza Taaza