jodi_no.1

Music review analysis of Himesh Reshammiya's album Jodi No. 1 (2001).

Yeh Jodi Hai No.1

Sanu - Sonu combo is in da house!

The song begins with catchy well structured feelgood bindaas vocal theme piece in unplugged mode until 0.14

The profound loud swoosh sound followed by off-da-hook drum hits with thump effect from 0.14 to 0.15 are a prelude to get da underlying beats rolling.

The underlying rhythmic drum beats from 0.16 onwards that hit it da old styled Himesh way (near his debut days) have a drum hit patten that gives HALKE SE KICK whereby he similarly used such beats in AMAR PREM TITLE TRAX, JAANAM TERE LIYE from KURUKSHETRA and SANAM MERE HUMRAAZ from HUMRAAZ.

The peppy piano piece from 0.22 to 0.23 and peppy tune piece 0.31 to 0.39 is of great cause.

Sonu's line, NAACHE-EEE (feel good bindaas voice rise) from 0.53 to 0.54

The catchy repetitive composition pattern of mukhda has an evident stamp of typical unique HR melody, with emphasis on the LAST NOTE that gives COMPLETENESS effect to da preceeding notes i.e. bin paayal KE (at 1.03), ghunghroo baaJE (at 1.05) bin baadal KE (at 1.07) bijuriyaa naaCHE (at 1.09) bin saavan KE (at 1.11) barkhaa barSE (at 1.13) bin gori KE (at 1.15) yeh manwa tarSE (at 1.17), and so on.

The quick beat pattern at 1.17 & 1.42 gives intermittent KICK.

Between mukhda & 1st stanza, the feel good trumpet piece plays from 1.53 to 2.07 followed by a funky guitar piece from 2.08 to 2.13 and an interconnected cute catchy gradually descending tune from 2.14 to 2.16 followed by profound heavy sound effect at 2.23 that gives great start-stop gap.

1st stanza

Alka's prolonged melodious alaap OOOOOOO from 2.24 to 2.27 is of great cause.

The composition pattern from 2.28 to 2.43 is simple yet effective, along with peppy rhythmic dholak beats that are representative of a small town setting.

Alka's line, KAAHE (off-da-hook melodiously innocent feel) from 2.27 to 2.28

The pleasant bansuri from 2.30 to 2.31, 2.34 to 2.35 & 2.38 to 2.39 enhances the traditional feel touch in Alka's vocals.

Sonu's line, JODI (awesome classical emphasis twist) at 3.17

Between 1st & 2nd stanza, a peppy rajasthani folk tune plays from 3.30 to 3.34 along with fast lively tabla beats. The profound heavy sound at 3.35 gives great start-stop gap.

2nd stanza

Alka's prolonged melodious alaap OOOOOOO from 3.46 to 3.49 is of great cause.

The composition pattern from 3.50 to 4.04 is simple yet effective, along with peppy rhythmic dholak beats that are representative of a small town setting.

Alka's line, LAGTA HAI (off-da-hook melodiously innocent feel) at 3.58

The pleasant bansuri from 3.52 to 3.53, 3.56 to 3.57, 4.00 to 4.01 & 4.04 to 4.05 enhances the traditional feel touch in Alka's vocals.

From 4.48 onwards, the song comes into its full 'business end' form when a continuous tune joins in along with Sonu's high-pitched alaap and enhances the core melody of mukhda lines which gets showcased.

Sonu's pours his heart out in his line, AAAAAAA (OFF-DA-HOOK prolonged fulltu high pitched classical desperation feel alaap) from 4.52 to 4.56 which is BEST melody of the song.

Sonu's lines, BIN (feel good catchy) at 4.48, 4.52, 4.56 & 5.00, MANWAA (awesome feel) from 5.01 to 5.02, YEEEEE (quick profound rising alaap) from 5.07 to 5.08, ONE (halke se feel) at 5.11

The song ends with a profound loud whoosh sound.

Highlights of this song:

1. Sanu's feel good vocals, Sonu's soothing feel vocals and Alka's melodious traditional feel vocals.

2. The underlying old school styled rhythmic drum hit pattern with thump effect that gives halke se kick.

3. The pleasant bansuri in stanzas, the quick beat effect in mukhda lines that give kick, the profound heavy sound effect that gives start-stop gap, the profound loud whoosh sound, peppy dholak beats in stanzas.

4. The feel good trumpet piece followed by funky guitar piece and cute catchy gradually descending tune in between 1st stanza gap and peppy Rajasthani tune in between 2nd stanza gap.

To sum up this is a "catchy peppy feel good bindaas rhythmic melody" with a "traditional small town feel" attached to it.

Anda Ka Phanda

From 0.21 onwards, a feel good tune plays followed by peppy beats.

The male singer sings with feel good vocals on a simple mukhda tune pattern.

Between mukhda and 1st stanza, feel good tune plays.

1st stanza

The male singer sings with feel good vocals on a simple tune pattern, and female chorus enhances the feel good factor.

The vocals from 1.40 to 1.43 are funny.

Between mukhda and 1st stanza, feel good bindaas vocals enjoy themselves. The vocals at 2.36 are funny.

2nd stanza

The male singer sings with feel good vocals on a simple tune pattern, and female chorus enhances the feel good factor.

The female chorus from 3.30 to 3.37 is likeable, with haunt effect from 3.48 to 3.50

From 3.37, the funny lyrics try to link every possible imagination to the word ADNA.

The male singer fully expresses himself with rising notes in word ANDA.

Highlights of this song:

1. The tune on the line IS ME CHUPA HAI JEEVAN KA FAL SAFA along with continuous subtle female chorus is hummable.

This song is purely situational to do its job in a comic flick, but otherwise it is nowhere near his signature tune elements.

Laal Chunariya

The song starts with feel good tune followed by a feel good whistle piece.

The cunning piano tune pattern from 0.24 to 0.29 is similar from 0.37 to 0.39 & 0.42 to 0.44, 0.48 to 0.49 & 0.53 to 0.54 in GUSTAKH DIL from DIL MANGE MORE.

A traditional tune plays from 0.28 to 0.43 along with energetic croons HAAI that were used in DHIN TARA from KPNHJ.

The fast drum-roll beats from 0.53 to 0.54 are similar to the drum-roll beats 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) 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 0.38 to 0.39 of TAAZA TAAZA (KYA DIL NE KAHAA), from 0.57 to 0.58 in OH JAANA (TERE NAAM).

The underlying peppy beats are representative of the beat type and pattern used in BOYS ARE BEST from CHURA LIYA HAI TUMNE and KOI AAP JAISA MIL JAIYE from VAAH LIFE HO TOH AISI. They remind of prom night setting.

The old fashioned drum beats kick in from 0.58 to 1.05 & 1.21 to 1.28

Sonu sings with feel good vocals on a simple mukhda tune.

Between mukhda and 1st stanza, a feel good trumpet piece plays followed by Alka's melodious croons on a well structured tune along with soothing female chorus.

1st stanza

The tune pattern from 1.53 to 2.03 is inspired from

The traditional drum beat skip at 1.58, 2.00, 2.03, 2.06, 2.08 & 2.11 is awesome along with likeable tune sur.

The tabla beat pattern from 2.01 to 2.05 along with sonu's feel good vocals is great.

From 2.06 to 2.09, the traditional flute plays followed by Alka's melodious vocals that have typical unique HR melody, with emphasis on GUMMM (twist), TUMM (twist).

Between 1st and 2nd stanza, feel good tunes play followed by Sonu's feel croons from 2.39 to 2.59 that resemble the tune pattern from 0.52 to 1.12 & 2.23 to 2.32. Alka croons along with traditional drum beat skip pattern.

2nd stanza

The tune pattern from 3.05 to 3.14 is inspired from

The traditional drum beat skip at 3.06, 3.09, 3.11 & 3.14 is awesome along with likeable tune sur.

The tabla beat pattern from 3.15 to 3.20 along with sonu's feel good vocals is great.

From 3.20 to 3.25, the traditional flute plays followed by Alka's melodious vocals that have typical unique HR melody, with emphasis on LUTAONGEE (twist), DIKHAUNGEE (twist).

The song ends with traditional feel good tune and energetic male croons HAA1.

Highlights of this song:

1. The underlying peppy beats, the traditional drum skip, traditional feel good tune and pleasant traditional flute in stanzas.

2. Sonu's feel good vocals, Alka's melodious vocals and energetic croons HAAI.

Tera Mera Dostana

The beginning tune with unplugged effect reminds of the beginning of NANHE YAAR from NANHE JAISELMER.

The song starts with feel croons by Kumar sanu.

The traditional drum beats kick in from 0.18 to giving a traditional outdoor setting feel.

Sanu's line thikana-AAAAAA (down feel twist pattern, great) from 0.30 to 0.31, DOOOO (feel twist) from 0.31 to 0.32

Sonu's line thikana-AAAAAA (down feel twist pattern, great) from 0.48 to 0.49, DOOOO (feel twist) from 0.50 to 0.51

The lyrics depict the bond of friendship between the two protagonists.

Between mukhda and 1st stanza, feel good tunes play.

1st stanza

Sonu and Sanu sing with feel vocals on a simple composition pattern, to keep the bond of friendship going.

The traditional flute plays from 2.28 to 2.29 followed by cute bansuri from 2.31 to 2.33

Sonu's line TU MERI PECHAAN HAI * 2 from 2.24 to 2.27 reminds of the lines SET HO JAYEGI * 2 from 1.12 to 1.16, 1.36 to 1.40, 2.41 to 2.45, 3.52 to 3.56 & 5.36 to 5.40, PAR POTA KHILAYEGI * 2 from 5.11 to 5.15 in LIFE BAN JAAYEGI from HUMRAAZ.

Between 1st and 2nd stanza, a bansuri tune plays followed by traditional tune and traditional flute.

2nd stanza

Sonu and Sanu sing with feel vocals on a simple composition pattern, to keep the bond of friendship going.

Sonu's line BAAKI SAB JHOL HAI * 2 from 4.03 to 4.07 reminds of the lines SET HO JAYEGI * 2 from 1.12 to 1.16, 1.36 to 1.40, 2.41 to 2.45, 3.52 to 3.56 & 5.36 to 5.40, PAR POTA KHILAYEGI * 2 from 5.11 to 5.15 in LIFE BAN JAAYEGI from HUMRAAZ.

From onwards, Sanu spins out some more feel vocals depicting betrayal of friendship in unplugged mode along with raw drum hit pattern from 4.37 onwards after which the song again picks up from 5.18 onwards with traditional drum beats.

Sanu's line JODI YEH HAMARI THI * 2 from 5.04 to 5.08 reminds of the lines SET HO JAYEGI * 2 from 1.12 to 1.16, 1.36 to 1.40, 2.41 to 2.45, 3.52 to 3.56 & 5.36 to 5.40, PAR POTA KHILAYEGI * 2 from 5.11 to 5.15 in LIFE BAN JAAYEGI from HUMRAAZ.

The song ends with female chorus with feel factor.

Highlights of this song:

1. The combo of Sonu-Sanu with their feel vocals.

2. The traditional drum beat pattern, traditional flute and female chorus with soothing feel.

3. Sing this song to a Himesh fan who is your friend, lol.

My picks

1. Yeh Jodi Hai No.1

The song begins with catchy male croons. Techno whoosh sound followed by OFF-DA-HOOK old-styled drum hits with thump effect from 0.14 to 0.15. Alka's line, KAHE SATAAYE (OFF-DA-HOOK melodious innocent feel vocals) from 2.28 to 2.29 in 1st stanza, LAGTA HAI (OFF-DA-HOOK melodious innocent feel vocals) from 3.57 to 3.58 in 2nd stanza. BEST PART of song is Sonu's OFF-DA-HOOK catchy classical high-pitched croons from 4.52 to 5.00 that strike a chord.

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