Music review analysis of Himesh Reshammiya's album Zindagi.

The album can be heard on Gaana website with the following link http://gaana.com/album/suchitra-k-zindagi

{tabs=Piya}

This trax was also used in Kya Dil Ne Kahaa.

Funky guitar riffs from 0:13 onwards build up the intro.

Off-da-hook beat effect from 0:19 to 0:21 causes intermediate build up.

Trademark early days Reshammiya beat kicks in from 0:29 onwards, with off-da-hook loop pattern from 0:29, 0:01, 0:33 and so on gives halke se kick and gets listener into da zone.

Great accompanying tunes from 0:43 to 0:51

Likeable piano keys from 0:51 to 1:05

KE-EEE (desperation feel downward twist) from 1:30 to 1:31 & 1:55 to 1:57

Off-da-hook drum hit pattern from 1:06 to 1:08, 1:42 to 1:43

Feelgood trumpet piece from 2:03 to 2:14

Between mukhda & 1st stanza, likeable piano from 2:38 to 2:52

1st stanza

Simple composition pattern from 2:54 to 3:25 along with feel good trumpet piece.

Beat skip effect from 3:33 to 3:35

Between 1st & 2nd stanza, quick quitar riffs from 4:09 to 4:12 followed by funky guitar piece from 4:12 to 4:20

Simple composition pattern from 4:52 to 5:23 along with feel good trumpet piece.

Beat skip effect from 5:31 to 5:33

{tabs=Roop Kudi Ka}

Traditional Old style Gujarati Folk peppy rhythmic celebratory song.

{tabs=Socha Nahi Accha Bura}

This song was reused in Ishq Hai Tumse.

The beginning beat from 0:02 onwards is that which was used in Ban Than Chali Bolo Ae Jaati from Kurukshetra.

Between mukhda & 1st stanza, catchy jingle piece from 1:13 to 1:22 followed by catchy funky guitar piece from 1:26 to 1:35

Dil ka suroor from 1:50 to 1:52...the word SUROOR was used long time back in a Himesh album.

{tabs=Tanha Tanha}

The best part of song are the mukhda hook lines, AE MERE, DIL BATAA...YEH TUJHE, KYA HUA have haunting Humraaz feel to them.

Off-da-hook wicked synthethic piece from 0:17 to 0:23 that gets to the listener is joined in by Trademark early days Reshammiya beat with off-da-hook loop pattern that gives halke se kick and gets listener into da zone, along with catchy guitar theme piece from 0:24 to 0:38

The feelgood saxophone that joins in from 0:32 to 0:39 is likeable.

Off-da-hook quick drum hits from 0:38 to 0:39 kick start the mukhda lines.

The 90s style composition pattern from 0:40 to 0:54 is free flowing abd builds up towards the mukhda hook.

The simple yet off-da-hook catchy mukhda hook line, AE MERE, DIL BATAA...YEH TUJHE, KYA HUA along with off-da-hook beat pattern, oscillating fluctuating tune at 0:59, 1:01, 1:03 and so on that gives completeness effect along with underlying tabla hits gets the listener into da zone.

The accompanying tune from 1:20 to 1:24 enhance the lines.

Between mukhda & 1st stanza, off-da-hook wicked synthethic piece is followed by synthetic tune from 1:40 to 1:46 and guitar theme piece.

1st stanza

Simple deja-vu composition pattern from 1:55 to 2:12 is typical 90s style.

Better likeable lines from 2:12 to 2:24 along with subtle tabla pattern with slight thump effect that gets listener into da groove, along with underlying haunt feel tune whereby one can imagine the 90s style heroine doing subtle latkas, jhatkas and thumkas with the pallu of her saari flying in the windy mountaineous terrain region.

Quick majestic jingle effect from 2:25 to 2:27

Between 1st & 2nd stanza, dance dhamaka beats kick in from 3:05 to 3:12 followed by feelgood saxophone from 3:13 to 3:18 and jovial tune from 3:19 to 3:25 and twisted funky guitar riffs from 3:26 to 3:33

2nd stanza

Simple deja-vu composition pattern from 3:35 to 3:51 is typical 90s style.

Better likeable lines from 3:53 to 4:05 along with subtle tabla pattern with slight thump effect that gets listener into da groove, along with underlying haunt feel tune whereby one can imagine the 90s style heroine doing subtle latkas, jhatkas and thumkas with the pallu of her saari flying in the windy mountaineous terrain region.

Quick majestic jingle effect from 4:05 to 4:07

YEH (great desperation feel singing) TUJHE at 4:14

Off-da-hook wicked tune from 4:19 to 4:24 gives completeness effect to mukhda hook lines.

The tunes from 4:47 onwards enhance the haunt feel effect.

Off-da-hook halke se guitar riff at 4:56

The song ends with a slowly rising tune in unplugged mode from 5:00 to 5:02 that gives halke se feel.

Tera Mera

This song was reused in Kurukshetra. Its mukhda is more suitable in Kurukshetra theme song as the beats and orchestration conveyed a sense of intense urgency of a passionate cop on chasing mission in that Action flick.

It begins with a grand trumpet tune in unplugged mode.

Trademark early days Reshammiya beat kicks in from 0:04 onwards with off-da-hook loop pattern that gives halke se kick and gets listener into da zone.

The beat from 0:04 to 0:11 causes great build up, joined in by trumpet piece from 0:12 onwards, and quick wicked synthetic effect from 0:28 to 0:35,

The female chorus from 1:01 to 1:23 is likeable.

Between mukhda & 1st stanza, more quick intense trumpet tunes from 1:23 to 1:34

The cuteness of young Dhokla boy Himesh is seen as how he had originally merged the mukhda of kurukshetra with antara of Pyar Dilon Ka Mela Hai, to later use them separately.

1st stanza

This composition pattern is from stanza of Pyar Dilon Ka Mela from Dulhan Hum Le Jayenge.

Likeable catchy riffs from 3:44 to 3:46

The singing from 2:00 to 2:04 is likeble.

Vintage guitar riffs from 2:12 to 2:16

Between 1st & 2nd stanza, quick distorted funky guitar from 3:19 to 3:22  followed by funky guitar piece from 3:23 onwards joined in by off-da-hook catchy trademark pre ABA female chorus from 3:33 to 3:42

2nd stanza

This composition pattern is from stanza of Pyar Dilon Ka Mela from Dulhan Hum Le Jayenge.

Likeable catchy riffs from 3:44 to 3:46

The singing from 3:49 to 3:51 is likeble.

Vintage guitar riffs from 4:00 to 4:04

Likeable female chorus joins in from 4:45 onwards.

Intense haunt feel tune effect from 4:55 to 4:58

Proceedings gradually become more quick and intense from 5:01 onwards.

Chhoo Liya

It is an old style jovial song.

Peppy rhythmic beat kicks in from 0:55 onwards along with intermittent trumpet tune.

Best part is the mukhda hook line ZARA AAHISTA * 3 along with female chorus that is added to vocals in an unconventional way for an overall unconventional, amusing but still kind of likeable overall effect.

1st stanza & 2nd stanza

Typical old style deja vu compositional pattern.

Between 1st & 2nd stanza, time for lullaby adlip from 3:41 to 3:50 followed by cute sounding tune from 3:50 to 3:57

My Picks

1. Tanha Tanha (mainly and simply because of the off-da-hook simple yet catchy mukhda hook).

2. Piya, Tera Mera and Socha Nahi Accha Bura - tie

3. Roop Kudi Ka and Chhoo Liya - tie

Verdict



Composition

Best composition in whole album is the mukhda hook line AE MERE, DIL BATAA...YEH TUJHE, KYA HUA which is simple yet off-da-hook catchy. If this song could have been given a more serene treatment and along with better antara tune, it could have found itself in Taarzan - The Wonder Car. It is surprising that Himesh did not get tempted to reuse this catchy fast paced rhythmic melodic trax in a later album.

Orchestration and Chorus

Underlying beat - in Tanha Tanha, Piya and Tera Mera, Himesh has used his Trademark early days Reshammiya beat with off-da-hook loop pattern that gives halke se kick and gets listener into da zone.

Catchy jingle piece from 1:13 to 1:22 followed by catchy funky guitar piece from 1:26 to 1:35 in between mukhda & 1st stanza of Socha Nahi Acha Bura.

Guitar theme piece, oscillating fluctuating tune at 0:59, 1:01, 1:03 and so on that gives completeness effect, off-da-hook wicked tune from 4:19 to 4:24 that gives completeness effect to mukhda hook lines in Tanha Tanha.

Funky guitar piece from 3:23 onwards joined in by off-da-hook catchy trademark pre ABA female chorus from 3:33 to 3:42 in between 1st & 2nd stanza gap of Tera Mera.

Likeable piano from 2:38 to 2:52 in between mukhda & 1st stanza of Piya.

Mukhda hook line ZARA AAHISTA * 3 along with female chorus that is added to vocals in an unconventional way for an overall unconventional, amusing but still kind of likeable overall effect.

Lyrics

Lyrics in certain portions are really jugaadu type gap filler pedestrian lyrics, and laughable in places.

Conclusion

It is good that young upcoming Dhokla boy Himesh reused portions of songs in this album in later filmy albums as they did not go unnoticed. The slight rawness in orchestration can also be noted as Himesh was getting accustomed and used to the electronic synthesizers which his daddy Shree Vipin Ji firstly introduced in India.




 

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