In pre-ABA era, Himesh - the composer asked his singers to get innovative by deliberate feel good emphasis vocals and with deliberate twisting / rolling of RRR's in lyric pronounciation, which was very typical of him.

This is best illustrated in Shaan's club / stage songs like:

> NIKAMMA KIYA - KYA DIL NE KAHAA.

> MOHABBAT HAI MIRCHI - CHURA LIYAA HAI TUMNE.

> AADAT HO CHUKI - KOI AAP SA.

Another example of a female line would be:

> KI KARA MEIN KI KARA from 1.17 to 1.22 in NIGEHBAAN - THE 3RD EYE.

As they say, old habits never die...purani aadatein kabhi bhi jaati ya khatam nahi hoti.

Hence, himesh - the singer has continued this trend in post-ABA era in lines of songs like:

> Stanzas of SISAK SISAK KE from KARZZZZ.

> EVER SINCE YOU'V BEEN AROUND...KARDU PYAAR KI MEIN BARSAAT from 1.59 to 2.08 in CHHED DE PYAAR DI BAAT from AAP KA SUROOR.

> U R ALWAYZ ON MY MIND from 0.42 to 0.57, 1.06 to 1.13 & 1.26 to 1.27 in AFSANA BANGAYA GOON from AAP KI KHATIR.

> HARI OM OM (core mukhda tag lines) from 1.35 to 1.58 in HARI OM from KARZZZZ.

> SARFAROSHI MILI TUJHSE HI SAATHIYA...BIN TERE BIN TERE JEENA JEENA HAI KYA from 0.38 to 0.57 in TERE SANG ISHQ from TOM DICK N HARRY.

> WITHOUT YOU OH BABY NO WAY from 0.56 to 0.23 in SAANWARIYA TERE BINA from ANTHONY KAUN HAI.

> Core mukhda tag lines & stanza lines, DIL MEIN BAS TU HI TU O JAANE JAANA, TUNE KIYA HAI MUJHKO SABSE BEGAANA from 1.34 to 1.42 in 1st stanza...DEKHE TUJHE JAB KOI JALTA HAI MERA DIL, TU HAI MERI BASI MERI...MERI HAI MANZIL from 2.31 to 2.39 in  I LOVE U O SAYYONI from AAP KA SUROOR.

> Himesh's lines, SOORAJ SAJA DUNGA, CHANDA BICHADUNGA, KADMON MEIN KEH DE JOH TU HAAN from 3.02 to 3.09 in PHOTOCOPY from JAI HO.

Yet another variation style of Himesh - the singer!

 

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