Pyaar_Kiya_Toh_Darna_Kya

Music review analysis of Himesh Reshammiya's album Pyaar Kiya Toh Darna Kya (1998).

After giving title tracks for his own TV soaps like Amar Prem and Andaz amongst a few, Himesh Reshammiya begins his innings as a music composer.

He goes with the tried and tested typical Indian duet jodi of Alka Yagnik and Kumar Sanu.

His preference to go for Alka formed a long standing consistent association to yield history results in terms of female playback singing in himesh's music up until the end of pre-ABA era.

Alka begins proceedings with her melodious vocals with subtle halke se feel in unplugged mode.

Her mukhda lines OODHLI CHUNARIYA TERE NAAM KI from 0.24 to 0.36 are melodious.

The tune piece from 0.37 to 0.40 & 0.45 to 0.49 leads to a good build up.

The old traditional styled raw heavy drum beats kick in from 0.41 to 0.44

Sanu's slogan type lines from 0.49 to 0.54 are on a constant note which is so simple yet effective.

The guitar riffs along with tabla pattern from 0.55 to 1.02 are of great cause.

The old styled heavy drum beat pattern from 1.03 to 1.10, 1.34 to 1.49 & 2.12 to 2.20 gives a traditionally rhythmic foot tapping feel that makes the listener want to hop to it.

The tune sur from 1.04 to 1.08 & 1.42 to 1.46 is of great cause.

The 2 tabla hits from 1.40 to 1.41 are classical off-da-hook.

Alka's and Sanu's lines PYAAAAAAAAAAAAR (OFF-DA-HOOK quick profound classical twist along with quick drum hits in sync) from 1.15 to 1.16 & 1.54 to 1.55 are the best part of the song.

HR did not suddenly become a master of prolonged twists-n-turns in his recent Sufi-Rwak compositions but he was ALWAYS a master of them.

The start-stop gap followed by quick drum hits from 1.16 to 1.19 & 1.55 to 1.58 gives great intermittent effect.

Alka's and Sanu's lines KYAAAAAAA (prolonged melody) from 1.19 to 1.22, 1.30 to 1.32, 1.58 to 2.01 & 2.08 to 2.10, PYAAAAAAAR (prolonged melody) from 1.24 to 1.27 & 2.02 to 2.05 give some KICK.

Sanu's middle octave vocals which is his strength make an impact on listener, especially on line pyAAAAAAAAAAAR (prolonged) from 2.02 to 2.05

Between mukhda & 1st stanza, the gradually rising tune pattern from 2.20 to 2.24 is followed by classical sitar, Alka's feel good croons along with effective tune flicks in 3 quick rising notes. Guitar riffs along with typical Indian instrument play from 2.40 to 2.50

1st stanza

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

The 3 tabla hits at 2.54 give great kick start to Alka's lines.

The tabla beat pattern from 2.55 to 3.07 gives good rhythm to Alka's lines.

The subtle drum beat skips from 3.09 to 3.23 are of great cause.

The keyboard hits from 3.17 to 3.23 are of great cause.

From 3.23 to 3.24, the traditional tune sounds cunningly naughty.

Between 1st & 2nd stanza, a traditional Rajasthani tune plays followed by fast-paced tabla pattern from 4.11 to 4.13. An effective keyboard tune plays from 4.31 to 4.36 followed by classical off-da-hook tabla hits from 4.36 to 4.37. Guitar riffs along with typical Indian instrument play from 4.37 to 4.47

2nd stanza

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

The 3 tabla hits at 4.51 give great kick start to Alka's lines.

The tabla beat pattern from 4.53 to 5.06 gives good rhythm to Sanu's lines.

The subtle drum beat skips from 5.07 to 5.22 are of great cause.

The keyboard hits from 5.14 to 5.20 are of great cause.

From 5.21 to 5.22, the traditional tune sounds cunningly naughty.

Alka's line, OOOOODHNI (feel twist) at 5.28

The tune piece along with tabla beats from 6.06 to end gives good finishing touch.

Highlights of this song:

1. Alka's melodious vocals and Sanu's middle octave impact vocals (his biggest weapon).

2. Alka's and Sanu's mukhda lines PYAAAAAAAAAAAA (OFF-DA-HOOK quick profound classical twist along with quick drum hits in sync) is best part of song.

3. Alka's and Sanu's mukhda lines KYAAAAAAA (prolonged melody) & PYAAAAAAAR (prolonged melody) from 1.24 to 1.27, 2.02 to 2.05 thatgive some kick.

4. The old styled traditional drum beats and tabla beat pattern, with emphasis on classical off-da-hook tabla hits from 1.40 to 1.41 & 4.36 to 4.37

5. The intermittent tune sur hits / flicks to provide great intermittent effect and the classical sitar.

Himesh reshammiya proves with his very first song that he has all the core sensibilities of a music composer.

This song marks the debut of the NUMERO UNO composer in India who was only destined to rule the charts in the coming time!

Tum Par Hum Hain Atke Yaara

The song begins with a synthetic instrument along with peppy male vocals DANCE.

Sanu's feel vocals from 0.05 onwards along with finger snaps build up the song.

The underlying rhythmic beats kick in from 0.17 onwards along with a naughty cunning funky guitar tune from 0.17 to 0.20 that is tailormade foe Sallu mia to do his thing.

 A cute tune plays from 0.24 to 0.25 & 0.27 to 0.29

The quick additional repetitive drum hits from 0.41 to 0.44 give sahi desired effect and kick followed by a naughty dodgy shout at 0.45 that gives completeness effect.

Between mukhda & 1st stanza, a peppy interior town tune plays followed by funky guitar and quick drum hits in SYNC from 1.01 to 1.04

1st stanza

The quick laidback drum skips from 1.05 onwards along with quick guitar riffs give a traditional outdoor feel.

Kavita's prolonged alaap OOOOOOO is of great cause.

She sings with melodious feel with emphasis on well structured rising lines TOOOOO (prolonged lower note) from 1.12 to 1.14, GEEEEE (prolonged higher note) from 1.16 to 1.18

Just as things look to go da emotional way, proceedings take a U turn and are back to peppy courtesy due to the naughty cunning funky guitar tune from 1.23 to 1.26

Sanu sings with subtle feel vocals with emphasis on well structured rising lines JAAAAA (prolonged lower note) from 1.28 to 1.30, BHIIIIIII (prolonged higher note) from 1.31 to 1.33

The tune sur behind his vocals from 1.28 to 1.37 is of great cause.

Just as things look to go da emotional way, proceedings take a U turn and are back to peppy courtesy due to the naughty cunning funky guitar tune from 1.38 to 1.41

Special mention for da rhyming lyrics on Kavita's line MATKE & Udit's line BHATKE.

The quick additional repetitive drum hits from 1.48 to 1.50 & 2.17 to 2.19 give sahi desired effect and kick followed by a rowdy dodgy shout at 1.51 & 2.20 that gives completeness effect.

A cute tune plays from 0.24 to 0.25 & 0.27 to 0.29

Between 1st & 2nd stanza, a peppy interior town tune plays along with dholak beats followed by a repetitive descending bansuri piece from 2.42 to 2.48 followed by funky guitar and quick drum hits in SYNC from 2.49 to 2.52

2nd stanza

The quick laidback drum skips from 2.53 onwards along with quick guitar riffs give a traditional outdoor feel.

Sanu's prolonged alaap OOOOOOO is of great cause.

He sings with subtle feel with emphasis on well structured rising lines HAIIIIIII (prolonged lower note) from 3.01 to 3.03, LIYAAAAA (prolonged higher note) from 3.05 to 3.07

Just as things look to go da emotional way, proceedings take a U turn and are back to peppy courtesy due to the naughty cunning funky guitar tune from 3.12 to 3.15

Kavita sings with subtle feel vocals with emphasis on well structured rising lines HUUUU (prolonged lower note) from 3.16 to 3.18, PIYAAAAA (prolonged higher note) from 3.20 to 3.22

The tune sur behind her vocals from 3.17 to 3.26 is of great cause.

Kavita's lines, OOOO (halke se feel)  from 3.18 to 3.19, LADNE (halke se feel) from 3.24 to 3.25

Just as things look to go da emotional way, proceedings take a U turn and are back to peppy courtesy due to the naughty cunning funky guitar tune from 3.27 to 3.30

Special mention for da rhyming lyrics on Udit's line PATKE & Kavita's line DATKE.

The quick additional repetitive drum hits from 3.36 to 3.38 & 4.06 to 4.08 give sahi desired effect and kick followed by a rowdy dodgy shout at 3.39 & 4.09 that gives completeness effect.

A cute tune plays from 4.19 & 4.21 to 4.24

The song ends with a mixed synthesis of whoosh sound and dodgy male vocals.

Highlights of this song:

1. Kumar Sanu's subtle feel vocals and Kavitha Krishnamurthy's melodious feel vocals.

2. The underlying rhythmic beats.

3. The synthetic instrument at start, finger clicks / snaps, naughty cunning funky guitar, quick additional repetitive drum hits, cute tune, tune sur in stanzas, bansuri piece, quick laidback drum skips in stanzas.

4. Funky guitar and quick drum hits in SYNC in between both stanza gaps.

5. Dodgy rebel shouts and male vocal effects used at start and end.

This song is a mix of rhythmic peppy feel good melody and traditional outdoor feel whereby Himesh - the composer succeeds in deceiving da listener in terms of where da song is heading to when it alternates / switches rather suddenly and abrupty between these two parts in da stanzas.

My Picks

1. Oodhli Chunariya.

2. Tum Par Hum Hain Atke Yaara.

Oodhli Chunariya - Karaoke

Karaoke of Himesh's debut song as composer, now hop to the beat.

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