Music review analysis of Himesh Reshammiya's album Bandhan (1998).
Dum Se Hai Dum
This song is actually quite non representative of trademark HR composition style in terms of melody, music arrangement and song structure, but it has sure has some lines of typical unique HR melody.
The tune pattern from 0.45 to 0.53, 1.15 to 1.19, 1.38 to 1.41 is innocently cute.
The trademark HR stamp is in lines from 0.54 to 1.12, 1.26 to 1.33
The line OH SANAM from 1.00 to 1.03, 1.10 to 1.12, 1.32 to 1.33 is TYPICAL UNIQUE HR MELODY.
The continuous rising tune pattern from 1.04 to 1.12 gives great tune sur.
The quick descending keyboard flick from 1.34 to 1.35
Alka's lines TUM (feel twist), GEE (feel twist), HOO (feel twist), KABHI (twist) between 1.26 and 1.32
Between mukhda and 1st stanza, a guitar piece plays followed by descending keyboard flick.
1st stanza
The singing is laid back and composition is very unlike typical HR.
The rising keyboard flick and trumpet is used in between.
Typical unique melody returns from 2.52 to 3.01
Between 1st and 2nd stanza, wind sound effect followed by Alka's feel good croons.
2nd stanza
The singing is laid back and composition is very unlike typical HR.
The rising keyboard flick and trumpet is used in between.
Typical unique melody returns from 4.41 to 4.48, 5.03 to 5.12
Highlights of this song:
Typical Unique HR Melody wherever mentioned.
Balle Balle
The song starts on a bright, vibrant and energetic note with the grand trumpet piece which reminds of start of AMAR PREM TITLE TRAX & DHIN TARA from KAHIN PYAR NA HO JAAYE.
From 0.09 to 0.16, the peppy beat plays along with old styled raw drum hits.
The funky metal guitar joins in from 0.16 to 0.23 & 0.51 to 0.58 along with intermittent female croons.
The female Rajasthani vocals from 0.24 to 0.30 are bindass.
The grand trumpet piece plays from 0.31 to 0.44 along with a funny cunning comical repetitive tune and underlying quick old styled raw drum hits.
A cute tune joins in from 0.44 to 0.45
The energetic beat effects in between 0.58 to 1.04, 1.11 to 1.16 give sahi desired effect to Alka's & Abhijeet's lines.
The fast paced raw drum hits from 1.04 to 1.05, 1.17 to 1.18 & 1.29 to 1.30 give great kick start to Alka's & Abhishek's lines.
The underlying beat is in full form from 1.06 onwards.
The female croons in between 1.06 & 1.11, 1.19 & 1.23, 1.32 to 1.36 are seductive feel good.
Alka's lines from 1.24 to 1.29 along with underlying beats are a rhythmic foot tapping affair that gets da listener into da groove and gives HALKE SE KICK.
Between mukhda & 1st stanza, a bindass trumpet piece plays from 1.36 to 1.43 followed by a pleasant feel bansuri piece from 1.44 to 1.53 along with underlying profound table beat pattern. The bindass female Rajasthani vocals are back from 1.55 to 2.01 followed by Alka's vocals. The funky metal guitar along with intermittent female croons plays from 2.09 to 2.16
1st stanza
The fast paced raw drum hits from 2.17 to 2.18 that give great kick start to Abhishek's lines were also similarly used from 1.19 to 1.20, 2.29 to 2.30 & 3.38 to 3.39 in AA PYAR KARE BINDAAS from CHALO ISHQ LADAAYE.
The tune of Abhishek's lines from 2.16 to 2.34 is similar to the tune of Sonu's lines from 1.18 to 1.36, 2.28 to 2.45 & 3.38 to 3.54 in AA PYAR KARE BINDAAS from CHALO ISHQ LADAAYE.
The funky metal guitar along with intermittent female croons from 2.24 to 2.27 maintains the peppy nature of the song.
From 2.35 to 2.42, Alka croons with feel along with underlying traditional drum skips.
The energetic beat effects in between 2.42 to 2.45 give sahi desired effect to Alka's lines.
Abhijeet's lines from 2.53 to 2.58 along with underlying beats are a rhythmic foot tapping affair that gets da listener into da groove and gives some kick.
Between 1st & 2nd stanza, a synthetic techno sound from 3.06 to 3.09 is followed by a catchy instrument tune from 3.10 to 3.17 followed by feel good guitar riffs from 3.16 to 3.26 with quick intermittent beat skips in sync. The bindass female Rajasthani vocals are back from 3.27 to 3.42 followed by Alka's vocals. The funky metal guitar along with intermittent female croons plays from 3.42 to 3.49
2nd stanza
The fast paced raw drum hits from 3.50 to 3.51 that give great kick start to Abhishek's lines were also similarly used from 1.19 to 1.20, 2.29 to 2.30 & 3.38 to 3.39 in AA PYAR KARE BINDAAS from CHALO ISHQ LADAAYE.
The tune of Alka's lines from 3.49 to 4.07 is similar to the tune of Sonu's lines from 1.18 to 1.36, 2.28 to 2.45 & 3.38 to 3.54 in AA PYAR KARE BINDAAS from CHALO ISHQ LADAAYE.
The funky metal guitar along with intermittent female croons from 3.57 to 4.00 maintains the peppy nature of the song.
From 4.08 to 4.14, Abhijeet croons with feel along with underlying traditional drum skips.
The energetic beat effects in between 4.15 to 4.18 give sahi desired effect to Abhijeet's lines.
Alka's & Abhijeet's lines from 4.26 to 4.31 & 4.39 to 4.43 along with underlying beats are a rhythmic foot tapping affair that gets da listener into da groove and gives some kick.
The peppy dholak beats join in from 4.51 onwards until the song ends.
Highlights of this song:
1. Alka's melodious vocals and Abhijeet's bindaas vocals.
2. Underlying old styled raw drum beat pattern that gives rhythmic foot tapping kick.
3. The fast paced raw drum hits at start of both stanzas, grand trumpet piece, cute tune, wicked comical tune, pleasant feel bansuri piece, synthetic techno sound, feel good funky metal guitar riffs, underlying traditional drum skips, energetic intermittent beat effects and peppy dholak beats.
4. Bindass female Rajasthani vocals and the female seductive feel good croons.
In one phrase, this is a 'feel good peppy rhythmic foot tapping' number.
My Picks
1. Balle Balle
The BEST PART of song is Alka's lines from 1.24 to 1.29 along with underlying beats that are a rhythmic foot tapping affair and gets da listener into da groove and gives HALKE SE KICK.
2. Dum Se Hai Dum
The BEST PART of song is Alka's and Sanu's line O SANAM (typical unique HR melody) from 1.00 to 1.03, 1.10 to 1.12 & 1.32 to 1.35, TERE DUM SE HAI MERA DUM (core mukhda tag lines) from 1.13 to 1.16, 1.19 to 1.23, 1.35 to 1.38 & 1.42 to 1.47 followed by CUTE tune filcks from 1.16 to 1.19 & 1.39 to 1.41 that give completeness effect to these preceeding lines.
3. Chhora Fisal Gaya