aamdani_aathani_kharcha_rupaiya

Music review analysis of Himesh Reshammiya's album Aamdani Atthanni Kharcha Rupaiya (2001).

Aamdani Aathani

The song begins with feel good female vocals followed by Jhonny Lever’s bindaas tapori vocals.

From 0.23 onwards, the song has an INTERNATIONAL FEEL due to the background music arrangement on Shaan's croons and this build up is just rwaking.

The rising keyboard flick from 0.40 to 0.42 is great.

The underlying beat skip pattern from 0.42 to 1.00 is off-da-hook and gets the listener into da groove.

The YEH HAI JALWA styled male treble classical croons from 0.44 to 0.46 & 0.49 to 0.51 (classical emphasis, strike a classical chord and connect with listener, HISTORY).

The quick up down piano flick from 0.59 to 1.00 is cute.

The feel good female chorus return from 1.01 to 1.09

The underlying beats from 1.17 onwards are free flowing and foot tapping.

By the time the soothing female chorus arrives from 1.23 to 1.26 & 1.44 to 1.47, the listener is totally feeling it!

Jhonny’s part brings a smile to the listener followed by sahi desired effect in form of 2 hard hits at 1.35 and 1.56

Between mukhda & 1st stanza, more feel goods vocals followed by a feel good grand trumpet tune and beat pattern.

1st stanza

The tune is simple yet effective with feel good vocals.

The soothing female chorus effect at 2.37 & 2.46 add to the feel good interesting lyrics.

Between 1st & 2nd stanza, once again an INTERBATIONAL FEEL due to the techno sound and groovy vocals followed by feel good grand trumpet tune and beats.

2nd stanza

The lyrics rhyme.

The soothing female chorus effect at 3.45 & 3.54 add to the feel good interesting lyrics.

The cute rising keyboard flick from 3.48 to 3.49

Between 2nd & 3rd stanza, YEH HAI JALWA styled male treble croons along with the unplugged international feel, followed by feel good female vocals.

3rd stanza

The off-da-hook beat effect at 4.47 gives great kick start to stanza.

Interesting lyrics bring a smile on the listener's face.

The cute rising keyboard flick from 4.49 to 4.50

The soothing female chorus effect at 4.52 and 5.02

The feel good line RUPAIYA followed by rwaking female chorus UUU from 5.33 to 5.36

The feel good female chorus lines finish off the song.

Highlights of this song:

1. Shaan’s feel good vocals & Jhonny’s bindaas tapori lines to add a humour element.

2. The YEH HAI JALWA classical TREBLE vocals that connect big time especially from 0.44 to 0.46

3. Feel good female chorus, especially the soothing UUU.

4. The cute rising keyboard flick and feel good grand trumpet tune.

5. The foot-tapping beats, the build up of the song with techno sound and groovy male vocals with an international feel (also in between stanza gaps) & intermittent beat effects.

This is a FEEL GOOD RHYTHMIC MELODY.

Ta Thaiya

The song begins with Sunithi's vocals and traditional flute, giving a strong overall traditional outdoor feel.

The female vocals from 0.28 to 0.38 are CLASSICAL OFF-DA-HOOK and STRIKE A CHORD / HOLD THE CLASSICAL PULSE of the listener.

The underlying free-flowing beats from 0.33 onwards get the listener into da groove.

A traditional Rajasthani folk tune plays from 0.38 to 0.58

The soothing female chorus and wicked dodgy male vocals from 0.59 to 1.14 are great build up.

The underlying beat kicks in from 1.14 onwards and sets the listener's foot tapping.

Off-da-hook beat effect from 1.26 to 1.27 gives sahi desired effect.

From 1.32 onwards, Preety & Pinky sing with naughty / cheeky penetrating feel good vocals.

The female chorus from 1.42 to 1.45 are soothing.

The keyboard flick from 1.53 to 1.55 is catchy.

The quick instrument effect at 2.00 & 2.15 is off-da-hook.

From 2.01 onwards, Sunithi sings with feel good vocals.

The funky trumpet in between 2.02 & 2.10, 2.17 & 2.20 was similarly used in between 3.27 & 3.33, 4.50 & 4.57 from GOOD BOY BAD BOY TITLE TRAX.

Between mukhda & 1st stanza, the Rajasthani tune plays along with quick raw drum beats and the female chorus join in later. The START-STOP gap from 2.41 to 2.43 is interesting mix.

1st stanza

From 2.44 to 2.59, Preety, Pinky & Sunithi sing with feel good vocals on lyrics that convey the meaning of symbiotic relationship.

The male TREBLE vocals (YEH HAI JALWA) in between 2.46 & 2.53 are awesome.

The tune and vocals from 3.07 to 3.16 are feel good effective.

The quick instrument effect at 3.17 & 3.32 is off-da-hook.

Between 1st & 2nd stanza, feel good tunes play followed by soothing female chorus and intermittent bazz male vocals.

2nd stanza

From 4.06 to 4.21, Shaan sings with feel good vocals on lyrics that convey the meaning of symbiotic relationship.

The traditional flute from 4.26 to 4.29 is great.

The tune and vocals from 4.29 to 4.38 are feel good effective.

The quick instrument effect at 4.39 & 4.54 is off-da-hook.

The song comes to an end with soothing female chorus along with intermittent funky trumpet.

Highlights of this song:

1. Sunithi's and Shaan's feel good vocals.

2. The Preety – Pinky combo of naughty / cheeky penetrating feel good vocals.

3. The soothing female chorus (especially off-da-hook classical feel from 0.28 to 0.28), and YEH HAI JALWA male treble vocals.

4. The underlying free-flowing beats, off-da hook quick instrument effect, traditional flute, rajasthani tune and intermittent funky trumpet giving a naughty feel.

Sajaniya Re

The song begins with intermittent cheeky naughty vocals.

The soothing female chorus kicks in along with a cute tune from 0.16 to 0.26

A catchy tune plays from 0.27 to 0.56, with emphasis on feel good tune twist from 0.32 to 0.34

From 0.38 onwards, the underlying peppy beats with a retro feel gets the listener's foot tapping.

From 0.56 to 1.43, Babul supriyo sings with feel good vocals on a catchy mukhda tune, with emphasis on PYAR DA PAIYA (feel good catchy) from 1.02 to 1.05, 1.16 to 1.19 & 1.31 to 1.35

The 2 beat hits from 0.36, 0.53, 1.06, 1.20, 1.37, 1.53, 2.08 & 2.24

From 1.43 to 2.29 , Sunithi sings with melodious vocals on a catchy mukhda tune, with emphasis on PYAR DA PAIYA (melodiously catchy) from 1.49 to 1.51, 2.03 to 2.06, 2.19 to 2.22

Between mukhda & 1st stanza, feel good tunes play followed by cheeky male vocals.

1st stanza

From 3.06 to 3.20, Sunithi & Babul sing with feel good vocals on a peppy rhythmic tune, and are complimented well by intermittent soothing female chorus.

The clap effect from 3.21 to 3.34 gets the foot tapping.

The Arabian tune from 3.26 to 3.27 is catchy.

Sunithi's lines from 3.35 to 3.45 are melodiously catchy, with emphasis on HAAAAAAAI (prolonged melody along with naughty female vocals) from 3.36 to 3.40 & TERRIFIC quick feel good melodious twist at 3.42.

Between 1st & 2nd stanza, iffy vocals croons followed by soothing female chorus along with cute tune followed by cheeky male vocals.

2nd stanza

From 4.47 to 5.01, Sunithi & Babul sing with feel good vocals on a peppy rhythmic tune, and are complimented well by intermittent soothing female chorus.

The clap effect from 5.02 to 5.14 gets the foot tapping.

The Arabian tune from 5.07 to 5.08 is catchy.

Babul's line, OOOOO (awesome feel good) at 5.08

Sunithi's lines from 5.14 to 5.26 are melodiously catchy, with emphasis on CHADAAAAAA (prolonged melody along with naughty female vocals) from 5.17 to 5.20

Highlights of this song:

1. Babul's feel good catchy & Sunithi's catchy melodious catchy vocals.

2. Peppy foot tapping energetic beats with retro feel, 2 beat effect, catchy tunes wherever mentioned.

3. Soothing female chorus and cheeky male vocals.

To describe it in a phrase, it is a MELODIOUSLY CATCHY FEEL GOOD PEPPY song.

Chori Chori

The song begins with male haunt vocals followed by groovy tune pattern until 0.21

The bazz trumpet plays from 0.22 to 0.31

From 0.32 onwards, Unit sings with soothing feel vocals on a subtle laidback beat pattern.

The quick descending Arabic tune is awesome.

The tune from 1.05 to 1.29 is ordinary and the repetitive lyric ITEM HAI that plays the spoilsport is not happening.

The haunt bazz trumpet gives tune sur in between 1.14 & 1.29, 2.06 & 2.11

Udit's line, HAAAAAAAAI (prolonged quick up down twists followed by quick repetitive haunt tune sur) from 1.39 to 1.43 is effective.

Udit's lines along with underlying beats and intermittent chime effect from 1.44 to 1.59 are hummable.

A quick descending Arabian tune plays from 2.00 to 2.01 & 2.33 to 2.34

Alka's lines from 2.02 onwards are melodious with emphasis on HAAAAAAAAI (prolonged quick up down twists followed by quick repetitive haunt tune sur) from 2.21 to 2.26, CHORI CHORI LE GAYA DIL (haunting melody) from 2.26 to 2.33

Between mukhda & 1st stanza, dodgy tunes play from 2.34 to 2.53 followed by haunt tune pattern from 2.54 to 3.03 followed by a quick wicked tune pattern from 3.04 to 3.08. The raw drum beat pattern in between 2.43 & 2.52 was similarly used in between 2.29 & 2.33 in O NENJIL DOLA from BOMALATTAM.

1st stanza

Udit's line TAAAAL (profound twist) at 3.13 & 3.25, JAAAAL (profound twist) at 3.18 & 3.30 can be easily associated with HR's SUFI RWAK composition style full of prolonged twists-n-turns.

The bazz trumpet gives tune sur behind Udit's vocals.

The subtle laidback beats kick in from 3.21 onwards.

Between 1st & 2nd stanza, a dodgy tune plays along with haunt male vocals and cheeky voice. Arabian vocals and Arabian tune play from 4.25 to 4.39 followed by groovy male vocals with desperation plea from 4.40 to 4.47 followed by bazz trumpet.

2nd stanza

Alka's line JAAAAN (profound twist) at 5.02 & NAAAAM (profound) at 5.07 can be easily associated with HR's SUFI RWAK composition style full of prolonged twists-n-turns.

The bazz trumpet gives tune sur behind Alka's vocals.

The subtle laidback beats kick in from 5.10 onwards.

Alka's lines from 5.22 to 5.27 are melodiously effective & from 5.52 to 5.58 have haunt melody.

The song finishes with a whoosh effect.

Highlights of this song:

1. Udit's soothing feel vocals and Alka's haunt melody.

2. Underlying subtle laidback beats, bazz trumpet, Arabic tunes / flicks and haunting groovy tunes.

3. Arabic vocals and male haunt vocals.

Style Tera Nasha

The song begins with peppy feel good bindaas tunes.

The soothing female chorus joins in from 0.30 onwards.

The finger snaps from 0.40 to 0.50 are the build up part.

Udit's and Sunithi's mukhda lines from 0.46 to 1.03, 1.10 to 1.20 have a déjà-vu feel.

The dhol beats kick in from 0.51 onwards.

The rest of mukhda lines are sung with feel good vocals.

Between mukhda & 1st stanza, energetic male vocals along with dhol beats is followed by Rajasthani tune from 1.42 to 1.53, and feel good tune.

1st stanza

From 2.17 to 2.27, Udit and Babul sing with feel good vocals on a simple pedestrian tune.

From 2.28 to 2.38, sunithi's lines are effective and bright point of this song.

The lines from 2.39 to 2.44 are feel good.

Between 1st & 2nd stanza, the overall mood is peppy feel good.

2nd stanza

From 3.24 to 3.40, Udit and Babul sing with feel good vocals on a simple pedestrian tune.

From 3.40 to 3.51, sunithi's lines are effective and bright point of this song.

The lines from 3.52 to 3.56 & 4.07 to 4.12 are feel good.

The song ends with soothing feel good female chorus.

Highlights of this song:

1. Sunithi chauhan's vocals on an effective composition pattern from 2.28 to 2.38 & 3.40 to 3.51

My Picks

1. Aamdani Atthani Kharcha Rupaiya

BEST PART of song is HISTORY male classical croons from 0.44 to 0.46 & 0.49 to 0.51 that pour their heart out and strike a classical chord and connect with listener.

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