dulhan_hum_le_jayenge

Music review analysis of Himesh Reshammiya's album Dulhan Hum Le Jayenge (2000).

Dulhan Hum Le Jayenge

Sanu starts this song with soothing feel vocals along with intermittent Alka’s croons HE HE.

The low octave impact in his lines LEE JAYENGE.

But the song changes course by the arrival of feel good female vocal croons.

The finger snaps plus tune from 0.31 to 0.41 are great build up.

The female rap along with repetitive female whispers adds to the feel good nature of this song.

The male and female energetic croons HAI with dhol beat skip from 0.58 to 1.06 & 1.41 to 1.47 are give foot tapping kick and remind of similar effect used in songs like DHEERE DHEERE and CHAMMIYA.

The underlying beats are made up mainly of dhol beats skip pattern..

Terrific cute flicks from 1.11 to 1.13

Sanu’s lines from 1.21 to 1.38 & 1.55 to 2.12 strike a chord, courtesy also due to female chorus especially from 1.25 to 1.26, 2.00 to 2.01 & 2.10 to 2.12

Sanu's lines, HOOO (waah! kya sur pakda hai) KASAM SE KASAM SE HUM AAYENGE SHAADI KA JODA HUM LAYEENGE (OFF-DA-HOOK catchy croons) from 1.21 to 1.31, 1.55 to 2.05 strike a chord along with cute female croons that enhance overall melody impact.

OFF-DA-HOOK techno sound from 2.13 to 2.15

Between mukhda & 1st stanza, the female rap and whisper is back followed by feel good shenayi tune and feel good female croons.

1st stanza

The drum effect at 2.43 is great.

The profound heavy drum skip pattern behind Alka’s feel good melodious lines makes the listener tap their feet.

The tune from 2.54 to 2.56 gives a halke se kick. This ‘instrument’ (and not the tune pattern) was also used in song CHAL SHAADI KAR LETE HAI from KURUKSHETRA in between mukhda and 1st stanza.

The quick keyboard flick from 3.05 to 3.06

Sanu's lines, HOOO (waah! kya sur pakda hai) ELAAN KARDO HUM AAYENGE CHAANDNI CHURAKE HUM GHAR LAYENGE (OFF-DA-HOOK catchy croons) from 3.06 to 3.16 strike a chord along with cute female croons that enhance overall melody impact.

Between 1st & 2nd stanza, the female rap and whisper is back followed by feel good shenayi tune and feel good female croons.

2nd stanza

The drum effect at 3.51 is great.

The profound heavy drum skip pattern behind Alka’s feel good melodious lines makes the listener tap their feet.

The tune from 4.02 to 4.04 gives halke se kick. This ‘instrument’ (and not the tune pattern) was also used in song CHAL SHAADI KAR LETE HAI from KURUKSHETRA in between mukhda and 1st stanza.

The quick keyboard flick from 4.13 to 4.14

Sanu's lines, HOOO (waah! kya sur pakda hai) SAHI WAQT PAR HI HUM AAYENGE TUJHKO UTHAKE HUM LE JAYENGE  (OFF-DA-HOOK catchy croons along with emotional feel) from 4.14 to 4.24 strike a chord along with cute female croons that enhance overall melody impact.

Highlights of this song:

1. Alka’s melodious vocals and Sanu’s LOWER OCTAVE IMPACT in all his lines which have best melody.

2. The underlying dhol skip beat pattern, the drum effect, quick keyboard flick and halke se kick tune.

3. The energetic vocals HAAI and soothing female chorus in between Sanu’s lines.

4. The female rap and whispers to an extent keeping the theme of song in mind.

This is a very enjoyable song with feel good melody and a little bit of feel factor.

Pyar Dilon Ka Mela Hai

The song starts with peppy beats and a piano piece and flick.

Alka arrives with her melodious vocals.

The male vocals behind Sonu’s and Alka’s voice from 0.40 to 0.43, 0.52 to 0.54, 1.03 to 1.06 are innovative and HR used to use and experiment with such in his early days.

Between mukhda and 1st stanza, a likeable piano pattern plays followed by female chorus

1st stanza

The dholak beats along with keyboard tune sur give good effect behind Sonu’s vocals.

Sonu’s lines YAAAAAAR (prolonged feel) followed by tune sur from 1.58 to 1.59, and his lines from 2.00 to 2.06 have a touch of classical feel that make them effective.

The claps in Alka’s lines make things peppier again.

Between 1st and 2nd stanza, quick piano pattern plays.

2nd stanza

The dholak beats along with keyboard tune sur give good effect behind Sonu’s vocals.

Sonu’s lines KARAAAAAR (prolonged feel) followed by tune sur from 3.40 to 3.41, and his lines from 3.41 to 3.48 have a touch of classical feel that make them effective, especially the twist in KAISA at 3.43.

The claps in Alka’s lines make things peppier again.

The female chorus end the song with some feel factor.

Highlights of this song:

1. The underlying peppy beats.

2. Sonu’s feel good vocals along with classical feel in the stanzas.

3. Alka’s melodious vocals and female chorus.

4. The innovative male croon effect.

5. The dholak beats in the stanzas and the piano tune patterns.

This song is all about peppy melody along with a mix of feel factor.



The stanzas of this song were inspired from the stanzas of his song TERA MERA from album ZINDAGI.

Mujhse Shaadi Karogi

The starting pattern reminds of the starting pattern (in terms of tune and drum effect) of DHIN TARA from KAHIN PYAR NA HOJAYE.

The loud female whisper from 0.14 to 0.15

The repetitive pattern of Sanu’s lines on semi-unplugged beats is simple yet effective and a great build up.

The full peppy beats kick in from 0.25 onwards and generate a lot of momentum.

Alka’s vocals are melodious from 0.31 to 0.37 & 0.53 to 0.59 especially JAANA (halke se twist) at 0.34 & 0.55

The fast drum effect from 0.36 to 0.37 & 0.58 to 0.59 and the 3 tabla beats at 0.39 & 1.01 give desired effect.

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) is slightly similar to 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 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The female vocal effect behind Sanu’s lines from 0.40 to 0.45 &1.02 to 1.06 is cheeky, and HR used to get innovative with chorus vocals in his early music days.

Between mukhda & 1st stanza, a feel good grand trumpet plays.

1st stanza

The composition is simple yet catchy and sung with feel good vocals.

The best melody returns from 1.46 to 1.52 with emphasis on halke se feel twist in line HUM KO.

Between 1st & 2nd stanza, the song takes a religious approach with raga instrument (as if in baba’s shrine along with pleasant bansuri) and classical male croons.

2nd stanza

The composition is simple yet catchy and sung with feel good vocals.

The best melody returns from 2.53 to 3.00 with emphasis on halke se feel twist in line PUJA.

Between 2nd & 3rd stanza, raw drum beats hit in along with female croons supported my male vocals.

3rd stanza

The composition is simple yet catchy and sung with feel good vocals.

The best melody returns from 3.57 to 4.04 with emphasis on halke se feel twist in line HUM KO.

The feel twist in Alka’s line TUJH SE from 4.11 to 4.12

1. The underlying peppy beats, female loud whispers, the fast drum effect, 3 tabla beats and female vocal effect behind Sanu’s lines.

2. Sanu’s lower octave impact and Alka’s melodious vocals.

3. The best melody in the song from 0.31 to 0.37, 0.53 to 0.59, 1.46 to 1.52, 2.53 to 3.00 &3.57 to 4.04

This song is all about peppy nature and feel good melody.

Dheere Dheere

The song starts with a Caribbean (West Indian) feel.

The energetic male and female vocals croon along with trumpet.

The wicked sound along with clap beats from 0.36 to 0.48 is good build up.

Sonu sings with feel good vocals.

His lines from 0.59 to 1.03, 1.28 to 1.32 are best melody in mukhda and representative of HR’s style.

The male and female croons on lines MUNDA KAMAL HAI with dhol beats enhance the peppy nature.

The rising tune from 1.26 to 1.28, 3.22 to 3.24, 4.53 to 4.56 and 5.24 to 5.25 is splendid.

Between mukhda and 1st stanza, feel good tune plays followed by trumpet tune. Jhonny lever does his thing. A Punjabi flavor follows due to dhol beats, punjabi tune and energetic male croons HAI.

1st stanza

The wicked sound along with finger snaps from 2.25 to 2.30 is good build up.

The trumpet enhances the feel good nature.

The male vocals from 2.42 to 2.44 and female vocals from 2.50 to 2.52 give good company.

The best tune of the song returns from 2.55 to 3.00, 3.24 to 3.28

Between 1st and 2nd stanza, more feel good tune plays followed by trumpet tune along with Sonu’s feel good croons. Jhonny lever does his thing. A Punjabi flavor follows due to dhol beats, punjabi tune and energetic male croons HAI.

2nd stanza

The wicked sound along with finger snaps from 4.26 to 4.31 is good build up.

The trumpet enhances the feel good nature.

The female vocals from 4.44 to 4.46 and female vocals from 4.51 to 4.53 give good company.

The best tune of the song returns from 4.57 to 5.01, 5.25 to 5.29

Highlights of this song:

1. The lines described as best tune/melody in the song.

2. The additional male and female vocals.

3. The underlying peppy beats, wicked sound with finger snap effect, the feel good trumpet and the rising splendid tune pattern.

This song is all about a spirited tussle between both the girl-boy groups of which I would like to be a part of.

Chammiya

This song is about a 'Tu Tu Mein Mein' verbal battle between the hero (and his saathi log) and herioine (and her saheliyaan). 

Sonu and Alka start this song with feel good vocals.

The underlying beats are peppy.

The funky sound from 0.26 to 0.30, 0.44 to 0.47, 0.55 to 0.58 enhances the bindass nature of this song.

The underlying beat in sync with sonu’s and Alka’s lines from 1.17 to 1.19, 1.35 to 1.37

Sonu’s energetic line CHAMMIYA has a very naughty taunting feel.

Alka’s energetic line CHAILA reciprocates this favor.

Between mukhda and 1st stanza, female and male vocals croon.

1st stanza

The vocal and beat effect from 2.08 to 2.11 acts as great build up.

The male and female vocals DHIN THA THA * 2 along with drum beats in perfect sync from 2.13 to 2.15, 2.17 to 2.18 are OFF-DA-HOOK and make the listener sway with them.

The energetic male vocals HAAI from 2.21 to 2.22, 2.24 to 2.26, 2.35 to 2.37, 2.39 to 2.40 give SIKE and they remind of the song DHIN TARA from KAHIN PYAR NA HO JAYE.

The female chorus from 2.30 to 2.33, 2.44 to 2.47 add some feel in an otherwise bindass song.

Between 1st and 2nd stanza, the male vocal effect is awesome followed by drum skip beats and claps along with Alka’s vocals. The dhol beats with band baaja follow.

2nd stanza

The vocal and beat effect from 4.06 to 4.09 acts as great build up.

The male and female vocals DHIN THA THA * 2 along with drum beats in perfect sync from 4.11 to 4.13, 4.15 to 4.17 are OFF-DA-HOOK and make the listener sway with them.

The energetic male vocals HAAI from 4.19 to 4.20, 4.22 to 4.24, 4.34 to 4.35, 4.37 to 4.38 give SIKE and they remind of the song DHIN TARA from KAHIN PYAR NA HO JAYE.

The female chorus from 4.28 to 4.31, 4.42 to 4.45 add some feel in an otherwise bindass song.

Highlights of this song:

1. The underlying feel good beats and the vocal and beat effect wherever mentioned.

2. The female chorus adding some feel factor.

3. Sonu’s and Alka’s feel good vocals.

4. The DHIN TAH THA * 2 and energetic HAI in stanzas are the best part and they sure give a kick.

This is a totally feel good bindass song.

Tu Jaan Hai

pumped macho man ne nakhre wali cutie mutie koh goad me uthake bistar par suladiya, thats so nyc of him

My Picks

1. Dulhan Hum Le Jayenge.

The underlying beats have a profound heavy drum skip pattern that gives foot tapping kick. BEST VOCALS in song are Sanu's lines, HOOO KASAM SE KASAM SE HUM AAYENGE SHAADI KA JODA HUM LAYEENGE (OFF-DA-HOOK catchy croons) from 1.21 to 1.31, 1.55 to 2.05 & 4.48 to 4.58 along with cute female croons that enhance overall melody impact. Sanu's lines in 1st stanza, HOOO ELAAN KARDO HUM AAYENGE CHAANDNI CHURAKE HUM GHAR LAYENGE (OFF-DA-HOOK catchy croons) from 3.06 to 3.16 along with cute female croons that enhance overall melody impact. Sanu's croons in 2nd stanza, HOOO SAHI WAQT PAR HI HUM AAYENGE TUJHKO UTHAKE HUM LE JAYENGE  (OFF-DA-HOOK catchy croons) from 4.14 to 4.24 along with cute female croons that enhance overall melody impact. Terrific cute flicks from 1.11 to 1.13 and OFF-DA-HOOK techno sound from 2.13 to 2.15

2. Mujh Se Shaadi Karogi & Pyar Dilon Ka Mela Hai (tie).

3. Chammiya, Dheere Dheere & O Mr Raja (tie).

Chammiya

BEST PART of song is the chorus DHIN TA TA DHIN TA TA (OFF-DA-HOOK croons along with drum skips in SYNC that get the listener swaying in estacy) from 2.13 to 2.15 & 2.17 to 2.19 in 1st stanza and from 4.11 to 4.13 & 4.15 to 4.17 in 2nd stanza followed by energetic repetitive chants HAI that give sike.

The aggressive male chorus line CHAMMIYA at 1.09,  in mukhda drives berserk, basically dimag kharaab kar deta hai. The intermittent male classsical jughalbandi DHIN TA TA * 2 in both stanzas gives off-da-hook foot tapping kick. Cutie mutie Lolo dances well. 

4. Tera Palu Sarka Jaye Re.

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