Aarzoo

This is JUNOON (ROCKY - THE REBEL) VERSION 2.

The song begins with an off-da-hook string based instrument pluck in unplugged mode that gives a skip effect.

An awesome string based raga instrument tune from 0.01 onwards gives off-da-hook halke se feel twist and catches da classical pulse of da listener, joined in by another awesome raaga string based raaga instrument (with higher scale) 0.04 to 0.12, and gets the listener into an amazing CLASSICAL WEST groove along with the underlying 'semi plugged 1 bit beat' that builds up the song's tempo.

Himesh reshammiya decided that he is really going to HIT IT in this one.

From 0.13 onwards, the rwaking new age innovative livewire beat with a 2 bit pattern joins in (hits it real hard in the 2nd bit pattern, off-da hook).

The catchy laidback male croons UUUUUUU that build up the song from 0.19 onwards are joined in with quick profound cutting edge  'mirimba instrument' plucking sound from 0.24 to 0.40 that was similarly used from 3.14 to 3.40 in CHALO DILDAR CHALO from DIL DIYA HAI.

The female voice croons EVERY TIME I MISS YOU get the listener into the groove for himesh's vocals to capitalize upon.

The vocals and the beat make it a foot tapping affair for da listeners.

Himesh's lines, KIS KADAR * 2 are likeable.

From 1.18 to 1.28 & 1.51 to 1.59, the female "ALTO" pitched HUSKY vocals along with FLUCTUATING VOLTAGE sound in unplugged mode followed by the quick profound cutting edge  'mirimba instrument' plucking sound is great build up.

From 2.12 to 2.17, himesh goes innovative and croons TUITUITUI dil ka cHAAIIIII (zabardast classical down twist) IIIIIAAAAAANNNNNN, TUITUITUI dil ke pAAAAAAAAA (zabardast classical down twist) AAAAAAAAAAAAS, TUITUITUI dil kEEEEEEEEEAAAAEEEE (terrific casual singing), ROOOUUUBARUUU (ustad styled prolonged intense emphasis twist that gives sike/kick).

The profound classical down twist in CHAIN and PAAS is similar to JUNOON (profound classical down twist) from 1.26 to 1.31 in JUNOON from ROCKY - THE REBEL.

From 2.18 to 2.27, the haunting JUNOON JUNOON style female vocals do their thing on same lines, TU HI TU HI DIL KA CHAIN, DIL KE PAAS, DIL KE RUBAAAAAROOOOOO (awesome prolonged voice deepening).

Between mukhda & 1st stanza, cutting edge quick profound 'mirimba instrument' plucking sound returns, with quick skid effect from 2.41 to 2.42 along with whoosh sound. The catchy laidback male croons are followed by a harmonica tune piece.

Stanzas compliment the mukhda well.

1st stanza

Himesh's lines, meri DASTAAAA-AAAA-AAAA-AAAA-AAAAN (great echo effect).

Female singer's lines are feel good.

Between 1st & 2nd stanza, the song has international feel courtesy due to AFRICAN male chants AAA EEEE AAAA EEEE * 3 followed by a penetratingly intense violin piece.

2nd stanza

Himesh's lines, TUM-MMMM-MMMM-MMMM-MMMM (great echo effect).

Himesh's lines TUITUITUI DIL KA CHAIN(profound lower twist, off-da-hook) TUITUITUI DIL KE PAAS (profound lower twist, off-da-hook) TUITUITUI DIL KE (terrific casual singing) RUBARU-UUUUU (prolonged ustad singing style) from 4.53 to 5.01

Highlights of this song:

1. Himesh's lines from 2.12 to 2.17 & 4.53 to 5.01 are the BEST past.

2. A daring experiment/gamble by Himesh to croon TU HI TU HI as one continuous phrase TUITUITUITUI.

3. Female alto husky vocals ek dum JUNOON JUNOON style and catchy laidback male croons UUUUUU.

4. The underlying beat that just HITS IT real hard/good, string based raaga instruments, harmonica tune piece, cutting edge quick profound 'mirimba instrument' plucking sound and penetratingly intense violin piece.

5. African male chants in between 2nd stanza gap that give an international touch.

This song has RWAKING beats to test the speakers of your latest system whereby Himesh's household Sufi-Rwak vocals are going about their usual business.

Those who loved the RWAKING JUNOON should lap up this song in an instance without a second thought.

Tere Hi Liye

This song is all about east-west combo.

The song begins by metal guitar piece followed by chilled out western beats that come to their own party.

Himesh croons with sharp knife edge vocals and the metal guitar kicks in again in between to great cause.

Himesh’s line, HAI (emphasis) at 1.01 and 1.06

The pattern of Himesh’s croons OOO OOOO sort of come from the school of thought of OOOO of Tadap Tadap, but the ones in this song are bindass chilled out and of course different in tune.

The metal guitar from 1.06 to 1.25 & 1.46 to 2.06 gives some kick.

The fact paced tabla beats from 0.59 to 1.00, 1.40 to 1.41 give the Eastern (Indian) touch.

Between mukhda & 1st stanza, the terrific string based raga instrument with great tune pattern (low to high to low pitch) that was also used from 3.26 to 3.40 in KYA JEENA from AKS – THE MOVIEE plays along with intermittent fact-paced tabla beats. It is really a deadly combination with western beats and instruments. An intensly penetrating violin piece follows.

1st stanza

Himesh sings with SHARP KNIFE EDGE vocals in middle octave.

His lines TERA MUJHSE DUR REHNA JAANE JA (great tune, off-da-hook singing) from 2.36 to 2.41 and YEH KHEL DARDE DIL KA JAANE JA (great tune) from 2.46 to 2.51 have awesome feel emphasis.

The fast tabla beats from 2.39 to 2.41 & 2.50 to 2.51 give sahi desired effect.

Akriti’s lines in unplugged 1 bit skip mode are catchy followed by heavy profound tabla beats from 2.59 to 3.02 that make their presence felt and get heavy upon the listener.

Between 1st & 2nd stanza, the deadly east-west combo of metal guitar that gives some kick and fast-paced tabla beats play followed by an intensly penetrating violin piece.

2nd stanza

Himesh sings with SHARP KNIFE EDGE vocals in middle octave.

His lines BECHANIYO KA AALAM RAAT DIN (catchy) from 4.18 to 4.20 and HAI ADHURA…TERE BIN (off-da-hook breathless emphasis singing) from 4.29 to 4.31

The fast tabla beats from 4.22 to 4.24 & 4.32 to 4.34 give sahi desired effect.

Akriti’s lines in unplugged mode are catchy followed by heavy profound tabla beats from 4.39 to 4.42 that make their presence felt and get heavy upon the listener.

Himesh’s line HAI from 4.55 to 4.56 is just like slogan.

Himesh’s croons NA NA NA NA in the end confirm the chilled out nature of this song.

Highlights of this song:

1. The underlying chilled out beat pattern that comes to its own party.

2. The deadly east-west combo of profound fast-paced tabla betas, terrific string based raga instrument and metal guitar that gives some kick.

3. The penetratingly intense violin piece in between stanzas.

4. Himesh’s knife edge middle octave vocals and Akriti kakkar’s feel good vocals.

This is a new approach and attempt by Himesh-the composer in terms of composition structure and music arrangement but still keeping intact his Sufi Rwak vocals.

In a nutshell, this song is refreshingly new albeit with traces of Sufi Rwak style.

Once again, the vital point to be noted is that Himesh has never forgotten the tabla and raga instrument even in a typical western oriented composition and this is the USP of it.

Ranking

1. Aarzoo

It is Junoon - version 2, Rwakin livewire beats hit it good...best lines are, Tu Hi Tu Hi Dil Ka Chain (off-da-hook profound twist), Tu Hi Tu Ti Dil Ke Paas (off-da-hook profound twist), Tu Hi Tu Hi Dil Ke (casual singing) Ru Ba Ru-uu-uu (intense emphasis Ustad styled singing).

2. Tere Hi Liye

Terrific raga tune piece in between 1st stanza gap, quick heavy intermittent tabla hits catch classical pulse, Himesh's lines in 2nd stanza, BECHANIYO KA AALAM RAAT DIN (catchy) from 4.18 to 4.20 and HAI ADHURA…TERE BIN (off-da-hook breathless emphasis singing) from 4.29 to 4.31

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