kurukshetra

Music review analysis of Himesh Reshammiya's album Kurukshetra (2000). 

Aap Ka Aana

The song begins with awesome classical raga tune pattern with intermittent high pitched female alaaps AA AA AA AA (TERRIFIC normal note) from 0.06 to 0.08, AA AA AA AA (TERRIFIC higher note) from 0.10 to 0.12

The build up part occurs from 0.17 to 0.32 with Alka's & Sanu's feel good croons along with subtle finger snaps.

The feel good guitar theme piece plays from 0.32 to 0.41 & 0.52 to 1.00

The underlying beats from 0.34 onwards are free flowing.

The fast paced tabla beats from 0.33 to 0.34, 1.16 to 1.17 & 2.00 to 2.01 were similarly used from 3.10 to 3.11 & 4.33 to 4.34 in KYUN KI ITNA PYAR & from 1.53 to1.54 & 3.00 to 3.01 in DIL KE BADLE SANAM from KYUN KI.

The female vocals spin out some peppy Punjabi lyrics from 0.42 to 0.51

Sanu's lines from 1.01 to 1.15 & Alka's alaap with daffli effect from 1.40 to 1.51 are the build up part.

Sanu's line, PYAAR (TERRIFIC profound quick middle octave impact twist) at 1.18, 1.23, 1.32, 1.37, 3.49, 3.54 & 5.25

Alka's line, JAANAAAAAAAAA (awesome quick prolonged twists in sync with tune) from 1.56 to 1.59

 From 1.58 to 2.01, the fast paced tabla beats followed by start-stop gap followed by fast paced paced tabla beats gives kick.

Alka's line, PYAAR (TERRIFIC profound quick melodious twist) at 2.01, 2.06, 2.15, 2.20 & 3.35, 5.11, 5.16 & 5.30

The female feel alaap AAAAA from 2.02 to 2.03 is TERRIFIC.

The quick descending tune from 2.16 to 2.18 is of great cause.

Between mukhda & 1st stanza, catchy tune pattern quick flicks along with awesome female classical feel croons and sitar in sync. The traditional laidback beat skips itself from 2.42 to 2.51 followed by tabla beat effect at 2.53 & 2.56 that was similarly used from start to 0.03 in KUCH MEETHA HO JAAYE from KMHJ, & from 3.04 to 3.12 in KABHI NA SUKOON AAYA from KOI AAP SA.

1st stanza

The feel good guitar from 3.00 to 3.01 is of great cause.

Sanu's line, HUA - AA (awesome halke se up feel twist) from 3.02 to 3.03 & 3.12 to 3.13

The female desperation feel chorus behind Sanu's soothing feel vocals in between 3.08 & 3.13 are awesome.

Alka's line, BEGANAAAAAAAA (awesome quick prolonged twists in sync with tune) from 3.30 to 3.32

From , the fast paced tabla beats followed by start-stop gap followed by fast paced paced tabla beats gives kick.

The female alaap AAAAA from 3.36 to 3.37 is TERRIFIC.

The quick descending tune from 3.50 to 3.52 is of great cause.

Between 1st & 2nd stanza, a traditional Rajasthani folk tune along with heavy profound quick raw drum beat effect plays from 3.56 to 4.12 followed by peppy Punjabi female croons. The traditional beat skips itself from 4.23 to 4.27 followed by tabla beat effect at 4.30 & 4.32 that was similarly used from start to 0.03 in KUCH MEETHA HO JAAYE from KMHJ.

2nd stanza

The feel good guitar from 4.36 to 4.37 is of great cause.

Sanu's line, SAZA - AA (awesome halke se up feel twist) from 4.38 to 4.39 & 4.48 to 4.49

The desperation feel female chorus behind Sanu's soothing feel vocals in between 4.44 & 4.49 are awesome.

Alka's line, AANAAAAAAAA (awesome prolonged twists in sync with tune) from 5.06 to 5.08

From 3.32 to 3.34, the fast paced tabla beats followed by start-stop gap followed by fast paced paced tabla beats gives kick.

The female alaap AAAAA from 5.12 to 5.13 is TERRIFIC.

Alka's line, PYAAAAR (awesome desperation emphasis twist) at 5.28

The quick descending tune from 5.26 to 5.28 is of great cause.

The song finishes with a feel good guitar piece and additional peppy beats.

Highlights of this song:

1. The TERRIFIC female chorus with emotional feel quotient, with emphasis on alaap AA AA AA AA from 2.02 to 2.03, 3.36 to 3.37 & 5.12 to 5.13 are the best part of song and they totally steal the show.

2. Underlying free flowing beats and traditional laidback drum skips.

3. Sanu's middle octave sooth feel vocals & Alka'a melodious vocals, with emphasis on line PYAAR (quick profound twist).

4. The starting raga tune, fast paced tabla beats with start stop gap to give sahi desired effect and kick, subtle finger snaps, feel good guitar, quick descending tune and Rajasthani folk tune.

5. Peppy Punjabi female vocal croons.

Jaanam Tere Liye

The song begins on a groovy note followed by Alka's TERRIFIC haunting melodious vocals and harmonica tune in unplugged mode.

From 0.22 to 0.26, a TERRIFIC techno instrument followed by a wheezing ear-splitting instrument to builds up SIKE and sets the ADRENALINE pumping. It is great build up so far.

From 0.27 onwards, the ANDAZ (TV serial) styled typical quick drum beats just hit it the old himesh reshammiya way.

From 0.47 to 0.50, great gradual descending keyboard flick.

From 1.04 to 1.08, typical old HR signature tune with a similar pattern (not instrument) for 'overall effect' from 0.57 to 1.05 in SANAM MERE HUMRAAZ from HUMRAAZ. This is the theme piece in essence and used intermittently throughout the song.

The faint female chorus behind Sanu's lines in between 1.28 & 1.35, 1.48 & 1.55 is great.

From 1.38 to 1.39 & 1.57 to 1.59, drum beat pattern gives sahi desired effect.

Between mukhda & 1st stanza, a string based tune is followed by flute piece. The TERRIFIC classical sitar from 2.35 to 2.42 gives some haunt feel.

1st stanza

The female chorus behind Sanu's lines from 2.43 to 2.50 & 3.02 to 3.08 is haunt feel good.

From 2.45 to 2.48, the musician tests out his drums.

The theme piece from 2.50 to 2.54 is effective to maintain the flow of song.

The continuous tune sur from 2.54 to 3.01 along with Sanu's vocals gives TERRIFIC overall effect and gets the listener into da groove.

Sanu's line, JAAAAAA (TERRIFIC profound twist) YE – EEE (TERRIFIC higher note emphasis twist) from 2.59 to 3.00

Between 1st & 2nd stanza, an intense violin piece plays along with feel good female vocals.

2nd stanza

The 2 key tune sur behind Alka's lines from 4.06 to 4.12 is good.

From 4.07 to 4.10, the musician tests out his drums.

The theme piece from 4.13 to 4.16 is effective to maintain the flow of song.

The continuous tune sur from 4.17 to 4.24 along with Sanu's vocals gives TERRIFIC overall effect and gets the listener into da groove.

Alka's line, HOOOOOOO (TERRIFIC melodious twist) – OOO (TERRIFIC higher note emphasis twist) from 4.21 to 4.22

Ultimate melody happens with Alka's lines JAANEJA (high pitched pinch) at 4.32

From 5.03 to 5.08, Alka fully expresses herself and lets out some striking high-pitched melody, followed by great gradual descending keyboard flick

From 5.12 to end, the SANAM MERE HUMRAAZ styled tune pattern in unplugged mode gives HELL LOT OF SIKE.

Highlights of this song:

1. Sanu's middle octave impact vocals and Alka's striking melodious vocals with haunt feel.

2. Andaz (TV serial) styled drum beats, Sanam Mere Humraaz styled theme piece pattern, continuous tune sur in stanzas, classical sitar and old style raw drum beat pattern to give sahi desired effect.

3. The groovy build up in unplugged mode with techno instrument, whoosh effect and Alka's hault alaap.

Hear this song if you want some SIKE and ADRENALINE PUMPING, because himesh reshammiya succeeds at achieving exactly this.

Ishq Bhi Kya

www.youtube.com/watch?v=Zb7Omkn87Yo

The song begins with Sonu's quwalli type passionate feel vocals along with subtle guitar strings.

From 0.34 to 0.51, the finger snaps from followed by Alka's vocals with string tune give good build up.

The soothing female kicks in from 0.38 to 0.40

The underlying beats are peppy.

The tune pattern of Alka's, Sonu's & Sanu's mukhda lines ISHQ BHI KYA CHEEZ HAI from 0.51 to 1.02, 1.10 to 1.21, 1.31 to 1.41 is slightly similar to the tune pattern of Sanu's lines MUJH SE SHAADI KAROGI from 0.38 to 0.44, 0.59 to 1.06, 1.53 to 2.00, 3.00 to 3.08, 4.04 to 4.11 & Alka's lines TUJH SE SHAADI KAROONGI from 4.12 to 4.18 (emphasis) in DULHAN HUM LE JAYENGE.

The tune pattern of Sanu's line YEH (high pitched emphasis) from 1.21 to 1.21 is similar to tune pattern of Udit's line TUU (high pitched emphasis) at 2.28 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

Between mukhda & 1st stanza, the bazz trumpet plays along with the bansuri.

1st stanza

The overall tune pattern from 2.10 to 2.25 is similar to the overall tune pattern from 2.29 to 3.03 in MERI AANKHON ME from YAKEEN.

The composition note OO OO (higher / rising) from 2.13 to 2.14, & 2.22 is similar to the composition note DU UU at 2.33 & 2.48, TU UU at 2.58 in MERI AANKHON ME from YAKEEN.

The lines AACHA (typical unique HR melody) at 2.16, SACHA (typical unique HR melody) at 2.24 were similar to lines KADAM TU (typical unique HR melody) at 2.35 & 2.51, MEIN HU (typical unique HR melody) at 3.01 in MERI AANKHON ME from YAKEEN.

The traditional flute piece from 2.22 to 2.25 is terrific.

From 2.27 to 2.34, Alka sings with melodious feel on catchy lines, with emphasis on SADAAAA (slight prolonged melody followed by male haunt vocals) from 2.29 to 2.30

The tune pattern of Alka's line AADA (high pitched emphasis) from 2.35 to 2.36 is similar to tune pattern of Udit's line TUU (high pitched emphasis) at 2.28 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

Between 1st & 2nd stanza, a string based tune and feel good tune plays followed by soothing female chorus.

2nd stanza

The overall tune pattern from 3.29 to 3.45 is similar to the overall tune pattern from 2.29 to 3.03 in MERI AANKHON ME from YAKEEN.

The composition note OO OO (higher / rising) at 3.32 & 3.40 is similar to the composition note DU UU at 2.33 & 2.48, TU UU at 2.58 in MERI AANKHON ME from YAKEEN.

The lines IS KA (typical unique HR melody) at 3.34, AISA (typical unique HR melody) at 3.43 were similar to lines EHSAAS (typical unique HR melody) at 4.12 & 4.26, TERI PYAAS (typical unique HR melody) from 4.36 to 4.37

The traditional flute piece from 3.41 to 3.43 is terrific.

From 3.45 to 3.53, Alka sings with melodious feel on catchy lines, with emphasis on MILEEEE (slight prolonged sooth feel followed by awesome soothing female chorus UU UU) from 3.47 to 3.49

The tune pattern of Sanu's line HOTE (high pitched emphasis) at 3.54 is similar to tune pattern of Udit's line TUU (high pitched emphasis) at 2.28 in TUNE MUJHKO DEEWANA KIYA from YAKEEN.

The song ends with the combo of haunt male vocals and soothing female chorus.

Highlights of this song:

1. Sonu's & Sanu's soothing feel vocals.

2. Alka's melodious vocals.

3. The terrific traditional flute piece, male haunt vocals and soothing female chorus.

When HR composed TUNE MUJHKO DEEWANA KIYA & MERI AANKHON MEIN from YAKEEN, he kept this song in mind.

He also kept MUJSE SHAADI KAROGI from DULHAN HUM LE JAYENGE in mind for the tune of core mukhda lines.

Kurukshetra

The song starts with a shank piece, signifying that the yudh is about to begin in kurukshetra.

From 0.12 to 0.49, techno beats followed by vibrant chants/loud whispers and grand trumpet are awesome build up part.

From 0.50 to 0.56, 1.12 to 1.19 & 1.36 to 1.42, the combo of vibrant chants/loud whispers and grand trumpet gets the listener into da groove.

From 0.57 to 1.09 & 1.20 to 1.32, the intermittent lively bazz trumpet along with is great.

The quick drum beat effect from 1.10 to 1.11 & 1.33 to 1.34 gives sahi desired effect.

Between mukhda & 1st stanza, grand instrument sounds play from 1.43 to 1.57, followed by haunt effect from 1.58 to 2.16

1st stanza

The tune is fairly simple and lyrics are inspiring.

The grand trumpet plays intermittently in between Rowinder's vocals symbolizing patriotism.

The beat effect from 2.51 to 2.54 & 3.09 to 3.10

Between 1st & 2nd stanza, haunting groovy tunes plays depicting troubled challenging times followed by female haunt vocals and grand trumpet along with live-wire techno bazz sound from 3.33 to 4.03

2nd stanza

The tune is fairly simple and lyrics are inspiring.

The grand trumpet plays intermittently in between Rowinder's vocals symbolizing patriotism.

The beat effect from 4.38 to 4.41 & 4.55 to 4.56 gives sahi desired effect.

Between 2nd & 3rd stanza, groovy techno sounds play followed by prolonged male desperation alaap followed quick beat effect and grand trumpet from 5.24 to 5.50 depicting call of duty of a nation's public servant.

3rd stanza

The tune is fairly simple and lyrics are inspiring.

The grand trumpet plays intermittently in between Rowinder's vocals symbolizing patriotism.

The beat effect from 6.25 to 6.27 & 6.41 to 6.42 gives sahi desired effect.

From 7.14 to 7.43, the male vocals spinning out some divine mantras along with underlying quick patriotic beats are a blessing of aashirwad to the protagonist.

The prolonged female chorus end the song.

Highlights of this song:

1. The combo of grand trumpet and KURUKSHETRA chants/loud whispers.

2. The vibrant bazz trumpet behind Rowinder's mukhda lines.

3. The quick drum beat, patriotic beats, grand trumpet, haunting groovy tunes and techno instrument sounds.

Though one does not mind leading an ear to this song that is driven mainly by instrument and beat effects, the typical unique HR melody is clearly missing.

The mukhda of this song was inspired from the mukhda of his song TERA MERA from album ZINDAGI.

Ghaghra

In every pre-ABA album, there had to be at least one item number and Kurukshetra was no exception.

The song begins with male desperation feel emphasis alaap.

The synthetic keyboard pattern in semi-plugged mode from 0.22 onwards is followed by additional heavier beats from 0.33 onwards followed by full mast rhythmic beats from 0.37 onwards, and this is awesome build up to the song.

Sunithi starts off with an alaap from 0.40 to 0.57 and sings the mukhda lines with feel good vocals.

The energetic male chants HAI (that were also used in DHIN TARA from KAHIN PYAR NA HOJAYE) from 1.12 to 1.23 enhance the peppy nature and brighten / lighten up the overall mood.

The beat skid effect followed by a heavy drum hit from 1.23 to 1.25 & 1.43 to 1.45, gives sahi desired effect.

The gradually rising keyboard flick from 1.43 to 1.45 is awesome.

BEST VOCALS in song is Sunithi's line, CHAHE KARWALO AB KAWALA - AAAAA (prolonged) - AAAA (OFF-DA-HOOK quick profound twist) from 1.40 to 1.45

The kabeela styled loud whispers HAAH from 1.47 to 1.50 & 3.04 to 3.06, 3.13 to 3.16, 4.10 to 4.13 & 4.32 to 4.34 remind of the kabeela croons HAAH from 1.24 to 1.31, 1.51 to 1.58, 2.59 to 3.05, 3.26 to 3.32, 4.51 to 4.57 & 5.18 to 5.24 in CHALO ISHQ LADAAYE TITLE TRAX in terms of overall desired vocal effect.

The repetitive pattern of synthetic keyboard in the mukhda lines is the key.

Between mukhda & 1st stanza, a techno sound plays followed by quick haunt keyboard flick from 2.04 to 2.05 followed by grand trumpet piece from 2.05 to 2.19. The descending 3 key tune from 2.30 to 2.33 is awesome.

1st stanza

The composition pattern of Sunithi's feel good lines from 2.37 to 2.51 is similar to composition pattern from 2.03 to 2.17 & 3.45 to 4.00 in MASTI MASTI from CHALO ISHQ LADAAYE.

Sunithi's line, DAZ - RAAAAAA (prolonged) - AAA (OFF-DA-HOOK quick profound twist) from 2.57 to 3.01

Between 1st & 2nd stanza, intense tunes play with full on beats along with male desperation plea emphasis alaap croons which are a call of duty for inspector to eliminate all evil out there. An Arabian tune piece plays from 3.33 to 3.41

2nd stanza

The composition pattern of Sunithi's feel good lines from 3.44 to 3.58 is similar to composition pattern from 2.03 to 2.17 & 3.45 to 4.00 in MASTI MASTI from CHALO ISHQ LADAAYE.

Sunithi's line, AGRA - AAAAAA (prolonged) - AAA (OFF-DA-HOOK quick profound twist) from 4.04 to 4.08

The energetic male vocals followed by 1 heavy drum hit from 4.06 to 4.09 give sahi desired effect.

The gradual rising keyboard flick followed by 1 heavy drum him from 4.28 to 4.31 gives sahi desired effect.

A funky guitar plays along with haunt grooy tunes from 4.46 onwards and extended male desperation feel emphasis alaap joins in from 5.08 onwards to end which signify that the police inspector is on his way to answer the call of duty (kartavya ka paalan karne ke kiye) and to beat up the goons who are enjoying and treating themselves to the dance of the nachaniya in her dera which is put somewhere in the interior downtown ilaka.

Highlights of this song:

1. Sunithi's feel good penetrating melodious vocals, male desperation feel emphasis alaap.

2. The gradual build up of beats at start.

3. Peppy rhythmic beats, repetitive synthetic piano pattern, and beat skid effect / gradually rising keyboard flicks / DHIN TARA styled energetic male chants followed by 1 heavy drum hit.

This song is effective, albeit with very little traces of the characteristic signature HR stamp.

Chal Shaadi

www.youtube.com/watch?v=V4iu-7vxPF0

Alka brightens the beginning proceedings with her carefree melodious vocals.

The feel good vocals from 0.30 to 0.37 enhance the peppy energetic mood.

The quick beat effect from 0.45 to 0.50 provides good build up.

The underlying beats are peppy.

The tune on Sanu's mukhda lines CHAL CHAADI KAR LETE HAI is hummable and the energetic vocals from 0.54 to 1.00 & 1.16 to 1.22 were similarly used from 0.40 to 0.45 & 1.02 to 1.06 from MUJHSE SHAADI KAROGI from DULHAN HUM LE JAYENGE.

Between mukhda & 1st stanza, a HISTORY instrument tune melody piece plays from 1.26 to 1.33 that is ONE OF THE BEST that a Himesh fan will EVER hear. The history inherent twist in tune from 1.27 to 1.28 gives OFF-DA-HOOK HALKE SE FEEL followed by a history tune flick at 1.29 & from 1.32 to 1.33. The off-da-hook traditional drum skip from 1.26 to 1.40 is followed by a lovely traditional flute piece from 1.35 to 1.37. The well structured tune piece, traditional drum beat skip and flute piece from 1.26 to 1.40 is similar to well structured male croons, traditional drum beat skip and flute piece from 2.50 to 3.11 in OODHNI from TERE NAAM, and hence one can only imagine Sallu mia doing his thing on Himesh's best tune pieces. The soothing female chorus kick in followed by feel good female vocals.

1st stanza

Alka's and Sanu's feel good  lines from 2.01 to 2.15 are simple.

The tabla beat pattern from 2.03 to 2.23 gives good rhythm.

A cute tune plays from 2.07 to 2.08

Sanu's subtle feel lines from 2.15 to 2.18 are hummable.

The continuous changing tune sur behind Sanu's repetitive lines AADHA AADHA * 3 from 2.19 to 2.25 gives awesome overall effect.

Between 1st & 2nd stanza, a Rajasthani tune along with traditional heavy drum skip pattern from 2.51 to 3.04 were similar to the Rajasthani tune along with traditional heavy drum skip pattern from 4.09 to 4.21 & 4.45 to 4.48 in OODHNI from TERE NAAM. This is followed by a feel good guitar piece from 3.13 to 3.19 and lovely traditional flute from 3.20 to 3.27

2nd stanza

Alka's and Sanu's feel good lines from 3.28 to 3.42 are simple.

The tabla beat pattern from 3.30 to 3.50 gives good rhythm.

The synthetic instrument tune at 3.31 and likeable piano flick from 3.34 to 3.35 give good tune sur.

Sanu's subtle feel lines from 3.43 to 3.45 are hummable.

The continuous changing tune sur behind Sanu's repetitive lines PYAARA PYAARA * 3 from 3.47 to 3.51 gives awesome overall effect.

Highlights of this song:

1. Sanu's soothing feel middle octave impact vocals, with emphasis on mukhda lines CHAL SHAADI KAR LETE HAI and mukhda lines from 2.15 to 2.24 & 3.42 to 3.51 along with continuous changing tune sur.

2. Alka's meodious vocals, especially in between mukhda & 1st stanza.

3. The energetic vocal effect along with Sanu's mukhda lines, tabla beat pattern in stanzas, cute tune, synthetic instrument, traditional hravy drum skips and the lovely traditional flute.

4. One of BEST EVER melody tune pieces by Himesh from 1.26 to 1.33 which is the REAL HIGHLIGHT.

When Himesh arranged the orchestration in between both stanza gaps of OODHNI from TERE NAAM, he kept in mind the music arrangement in between both stanza gaps of this song.

My Picks

1. Jaanam Tere Liye

The song begins with a groovy mysterious haunt tone followed by Alka's haunt feel lines, with emphasis on LA (OFF-DA-HOOK fulltu high-pitched) at 0.14. The techno tune from 0.21 to 0.25 builds up sike, followed by profound whoosh sound from 0.25 to 0.26 that gives kick. Underlying rhythmic beat pattern gives halke se kick. The thump beat effect from 1.38 to 1.39 & 1.57 to 1.59 gives sahi desired / completeness effect to Sanu's lines. Alka's line, KYA HO - OO (catchy twist) from 4.21 to 4.22, JAANE (OFF-DA-HOOK fulltu high-pitched) at 4.32, and LA OFF-DA-HOOK fulltu high-pitched) at 5.06. The theme piece in unplugged mode from 5.11 till end makes da listener feel it big time.

2. Aap Ka Aana

BEST VOCALS in song is OFF-DA-HOOK fulltu high-pitched catchy female chorus in between 0.06 & 0.12, and from 2.02 to 2.04. The fast paced tabla beats from 0.33 to 0.34, 1.16 to 1.17 and so on give intermittent kick. The quick varying key flicks from 2.22 to 2.27 followed by catchy female classical croons from 2.28 to 2.41 are a catchy affair.

3. Ghaghra

Sunithi sings with feel good penetrating melodious vocals. BEST VOCALS in song is Sunithi's line, CHAHE KARWALO AB KAWALA - AAAAA (prolonged) - AAAA (OFF-DA-HOOK quick profound twist) from 1.40 to 1.45 & 4.24 to 4.29, DAZ - RAAAAAA (prolonged) - AAA (OFF-DA-HOOK quick profound twist) from 2.57 to 3.01 in 1st stanza, AGRA - AAAAAA (prolonged) - AAA (OFF-DA-HOOK quick profound twist) from 4.04 to 4.08 in 2nd stanza.

4. Kurukshetra / Chal Shaadi Kar Lete Hai / Ishq Bhi Kya Cheez Hai {tie)

Kurukshetra

BEST part of song is the catchy chorus from 3.32 to 3.47 & 3.55 to 4.03

Chal Shaadi Kar Lete Hain

It is a rhythmic peppy feel good song, okay sokay type. But do check out the BEST PART in this song in between 1st stanza gap from 1.26 to 1.40 which is one of BEST EVER musical pieces in terms of typical unique HR melody in da pre ABA era.

Ishq Bhi Kya Cheez Hai

Himesh talks about Kurukshera's music

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