Music review analysis of Himesh Reshammiya's album Aap Ki Khatir (2006).
Aap Ki Khatir
A heavy metal guitar piece starts the song folowed by a whoosh instrument at 0.06 that himesh uses very often in his post ABA songs.
Himesh eats a lot of honey [fun intended] and totally softens his vocal chords and croons with a newish voice from 0.11 to 0.27, the OOOO * 4 part which is very soothing. The guitar plays intermittently between the OOOO part.
From 0.27 to 0.45, the HARMONICA tune plays on the mukhda lines.
At 0.46, an additional beat hits 3 times
Himesh sings in a shayariana ghazal andaz and thanks to sameer's lyrics for that.
From 0.55 to 0.59, the GHUNGROO along with metal guitar play to give sahi impact of himesh lines. Again at 1.15, 1.20, 1.35 & 1.40
Emphasis at 0.52 & 1.03, HAIIIIII (twist).
The rest of mukhda is very free flowing.
From 1.44 to 1.58, the soothing OOOO * 4 himesh vocals return.
At 1.56, note the 2 sharp beats.
At 2.02, himesh leaves HAAI like a slogan.
From 2.04, yeh to hai silsila chain-o-SUKUUUN (very good feel) ka, dil ke JUNOOOON (very good feel) ka
At 2.13, there is ECHO effect of KA...KA (awesome)
At 2.14, afreen, sung very well as usually is the case with sufi words. Thats why Sameerji uses them for himesh.
From 2.15 to 2.29, the same antara lines repeat but with added GHURGROO instrument to give the the typical indian ghazal effect.
From 2.30 to 2.36, himesh takes the middle octave route accompanied by haunting vocals that give great tune sur.
Between 1st and 2nd stanza, the soothing himesh OOOO * 4 returns.
At 3.16, the true effect of the GHUNGROO instrument is on display.
At 3.17, himesh bowls over the listener completely with extre soothing AAP KI (COMPUTERIZED aap ki), KHAATIR, (at 3.20, COMPUTERIZED khaatir, ufffffff), AAP KI (slogan type - TERRIFIC), (COMPUTERIZED aap ki), kHAA(well sung, good feel) AAAAtir, followed by a lovely PIANO piece. Note how the VERY LAST piano key at 3.33 is actually delayed between the guitar beats, great timing.
This whole part from 3.17 to 3.25 is HIGHLIGHT of the song.
2nd stanza
Same pattern as 1st stanza.
At 3.35, 2 beats hit quickly.
Himesh croons with utter passion and feel emphasis on AASHIQUI, AAP KI.
From 4.06, himesh once again tests his skills in the middle octave to great effect, emphasis on 4.12, NA PHIR, that threatens to go into lower octave.
From 4.36 onwards, an attidional computerized faint voice (his own) plays behind himesh's vocals albiet a little delayed in timing, great effect.
Himesh fininshes with a statement in form of zaaHIIIIIIR (voice deepens).
Highlights of this song:
1. Himesh's soothing vocals that don the ghazal shayariana cap.
2. The heavy metal guitar, ghungroo instrument, additional 2-3 beats and piano piece towards end of part between 1st and 2nd stanza.
3. The underlying beats that go very well with the tempo of the song.
4. The computerized vocals due to which the part 3.17 to 3.25 is the highlight of the song.
5. Sameer's meaningful lyrics.
This song is an experiment for Himesh - the singer in terms of trying out a new voice.
I Love U 4 What U R
The song begins with a synthetic harmonica tune followed by seductive croons by Suzanne.
The Arabian theme piece plays from 0.20 to 0.44 and a similar instrument was used for "effect" purposes in the mukhda lines from 0.47 to 0.54 and the pattern is obviously different.
This theme piece plays intermittently through out the song.
The cheeky female vocals croon AI YAI BABY intermittently.
KK sings with feel good high pitched vocals.
The female vocals croon from 1.18 to 1.20, 1.39 to 1.49 & 2.04 to 2.22 and the pitch variations (subtle / feel good high pitch) give the complete desired effect.
Alisha arrives with her seductive vocals.
Between mukhda and 1st stanza, new age tune plays along by seductive female croons followed by Arabian theme piece.
Between 1st and 2nd stanza, the female vocals belts out some more seductive lyrics and followed by male croons. The continuous rising male "alaap" gives the overall desired effect. This is followed by synthetic harmonica tune.
1st & 2nd stanza
Alisha croons with her seductive vocals on a feel good composition pattern.
The echo effect and underlying sound gives a retro feel.
KK croons with his high pitched feel good vocals with echo effect.
The guitar piece playing behind his lines gives the complete effect.
In the end, the male and female croon with pitch variation.
Highlights of this song:
1. KK's high-pitched feel good vocals and Alisha's seductive vocals.
2. The underlying rhythmic beats, synthetic harmonica piece and Arabian theme piece, guitar piece behind KK's stanza lines and cheeky female croons AI YAI BABY.
3. The feel good pitch variation by male and female vocals.
4. The key in this song is the echo effect and feel good pitch variation coupled with Arabian theme piece and cheeky female croons.
This is a rhythmic seductively feel good melody.
Meethi Meethi Baatan
The song begins a pleasant well structured bansuri tune and an interesting mix of heavy metal bazz guitar (played intermittently throughout at regular intervals) followed by soothing female chorus.
Sunidhi gets her hands full with a new challenge and is asked to come out of her comfort zone and she excels.
Sunithi's line, DILASA DE GAYA (OFF-DA-HOOK singing) followed by 3 key raga tune sur (up up 2 notes up 2 notes) is one of the BEST PARTS.
The 2 heavy additional beats from 1.00 to 1.01 gives sahi desired effect. What perfect timing!
Sunithi's line, dil mahiya LEGAYAAA at 1.09 & 1.20 has a very faint trace of lines, tenu dil vich rakhlu JAANEMAN from MAIN AISA HI HOON.
Kailash Kher's OFF-DA-HOOK soulful desperation plea croons from 1.09 to 1.11 convey a touching feel and strike a chord.
Between the mukhda & 1st stanza, from 1.57 to 2.18, a terrific CATCHY string based raga tune pattern plays( especially at 2.04 & 2.15) and the fast tabla beats give desired effect. This is the other BEST PART of this song.
1st stanza
The fast paced tabla beats from 2.31 to 2.32 were also used at the same spot in songs Meri Nas Nas Mein Tum Ho (Dil Ne Jise Aapna Kaha) and Kyun Ki Itna Pyar (Kyun Ki).
The starting OOOOOO conveys good emotions.
The rest of stanza is aided by the raga tune sur.
Between 1st and 2nd stanza, the folk-punjabi combo of jaspinder-kailash belt out some decent depth of vocals to keep the listener engaged.
2nd stanza
The stanza shows little trace of pre-ABA tunes albeit to a limited extent.
In the ending portion the female chorus along with heavy metal guitar kick in.
Jaspinder Narula showcases her class of voice depth and overwhelms the listener with her OFF-DA-HOOK extended desperation plea vocal alaap from 5.37 to 5.48
Highlights of this song:
1. The pleasant well structured bansuri piece at start, the laidback underlying beats and the soothing female chorus.
2. Sunithi's line, DILASA DE GAYA and the ragatune pattern between mukhda and 1st stanza that are the BEST PARTS of this song.
3. The fast paced tabla beats in start of stanzas and OFF-DA-HOOK 2 heavy additional beats wherever mentioned.
4. Jaspinder's exhibition of class right at the end that conveys the feel element.
5. Kailash Kher's OFF-DA-HOOK soulful desperation plea croons from 1.09 to 1.11
Tu Hai Kamaal
The song begins with bazz sound with 1 beat hit pattern.
The Indian raga tune along with underlying western beats is great mix.
The beats have a RWAKING FOOT-TAPPING beat pattern.
The flute piece pattern in between 0.16 and 0.52 is likeable and it is the theme piece.
Kunal croons with feel good vocals.
The drum-roll beats from 0.57 to 0.58, 1.41 to 1.42 are OFF-DA-HOOK
By this time, the underlying beats and energetic male vocals HAAI are in SYNC with Kunal's vocals and sure do give a kick.
The computerized CHEHRA at 1.15, AANKHEN at 1.19 is awesome.
The heavy drum beat effect from 1.22 to 1.23, 2.01 to 2.02 is awesome.
Between mukhda and 1st stanza, the flute theme piece is back followed by feel good tune and raga tune.
1st stanza
Kunal sings with feel good vocals and the female vocals enhance this effect.
Kunal's lines from 2.59 to 3.12 are sung with subtle feel and the energetic HAAI at 3.03, 3.06, 3.10 give a kick.
Between 1st and 2nd stanza, a classical tune plays followed by seductive vocals and the overall effect from 3.51 to 4.04 is OFF-DA-HOOK. Subsequent high-pitched croons from Jayesh Gandhi along with HAAI and beat pattern are rwaking. The repetitive female YEAH adds a seductive touch.
2nd stanza
Kunal sings with feel good vocals and the female vocals enhance this effect.
Kunal's lines from 4.54 to 5.08 are sung with subtle feel and the energetic HAAI at 4.56, 5.00 and 5.03 give a kick.
The female vocals croon GET A LIFE DUDE and one wonders if they were intended for the haters.
Highlights of this song:
1. The underlying rwaking beat pattern, off-da-hook drum-roll beats that zoom across and the energetic male vocals HAAI are the USP of this song.
2. The flute theme piece, interesting raga tune mix at start, jayesh's croons and seductive feel good female vocals especially in gap between 1st and 2nd stanza.
This is a very high on energy musically arranged song that is sung with feel good vocals.
Afsana
Himesh mixes some old elements with his contemporary style.
The song starts with a computerized female voice crooning the tag line in the tune of yesteryears.
From 0.08 to 0.16, the raga instrument plays.
From 0.16 to 0.24, an old styled tune plays.
From 0.25 to 0.31, the echo effect AFSANA along with raga tune is likeable.
Frankly speaking, the lines from 0.32 to 0.39 are full of nasal twang but this time the emphasis singing is a let down especially the lines JAHAAN MEIN BATAAU which just doesn't click.
From 0.40 to 0.56, 1.05 to 1.12, Sameerji throws in a mix of English lyrics which Himesh croons with deliberate vocals and the tune sur behind these lyrics gives a great overall effect.
The sudden foot tapping beats from 0.48 onwards give a KICK and are in great SYNC with the English lines.
From 1.12 to 1.21, Himesh's high pitched vocals are likeable.
Between mukhda and 1st stanza, the old styled tunes play followed by the raga tune.
1st stanza
The beat effect at 2.00 is great kick start to the stanza.
Himesh's sings with a little bit of feel from 2.01 to 2.08 on a simple tune pattern, and the rest of high pitched lines are very much sufi rwak singing style.
Between 1st and 2nd stanza, the raga tune plays.
2nd stanza
The beat effect at 2.40 is great kick start to the stanza.
Himesh's sings with a little bit of feel from 2.41 to 2.48 on a simple tune pattern, and the rest of high pitched lines are very much sufi rwak singing style.
The song ends with the raga tune which is the theme piece in essence.
Highlights of this song:
1. The foot tapping beats, raga tune, beat effect at start of stanzas and continuous faint tune sur behind HR's English lines.
2. Himesh's English lines sung with deliberate feel good vocals and high pitched lines from 1.12 to 1.21 & 3.12 to 3.20
One does not mind the vocals except the mukhda lines AFSANA BANGAYA HOON MAIN TERE PYAR KA, JAHAAN ME BATAAU, which are the worst vocals by Himesh so far in his singing career.
The reason is not known but such vocals neither do justice to Himesh's reputation as a singer nor meet the benchmark of expectations set by his other works.
The computerized female voice and old styled tunes don't really add much to this song as they give a deja-vu feel to the song (and also to the mukhda lyrics) and could have been done away with for some new age tunes instead.
Composition wise, this is a decent track.
Keh Do Naa
This is a very subtle laidback song.
It contains faint traces of old Himesh the composer especially lines keh do na TUMHE PYAR * 2 hai sanam.
The song opens with a bazz sound followed by a very pleasant flute piece especially from 0.27 to 0.28
Sunithi is once again asked to curb her natural instincts and sing with subtle vocals.
The line KEH DO NA TUMHE PYAR HAI SANAM is the core melody of the mukhda.
Shaan sings this line with lot of soothness and feel especially the KEH DO (along with the sur tune in the background).
Between mukhda & 1st stanza, the lovely flute piece comes to mesmerize the listener.
1st stanza
Shaan's lines, JAANA-AAAAA(twist), DIL-ILLLLLL(twist)
Sunidhi proves her versatility and sings with soothing subtle vocals to compliment shaan very well.
Shaan's lines, KEH DO NAAAH (twist) at 3.02 & 3.16 are sung with feel factor.
Between 1st & 2nd stanza a feel good tune plays followed by a combo of flute and sunithi's LA LA LA to create a great overall effect.
2nd stanza
Shaan's lines, MANZA-AAAAAR(twist), AAHAT-EEEEEEN(twist)
Suninthi's line, IMHE-HAAAAAAAN (prolonged feel) at 4.35
The heavy beats from 5.02 to 5.03 are effective to an extent.
From 5.21, a set of additional beat kicks in just like in ending part of TERA SUROOR – AKS and shaan's KEH DO NA part along with it conveys the feel. The tune sur is critical.
Highlights of this song:
1. The pleasant flute piece that mesmerizes the listener and enhances the soothing reputation of this song.
2. Shaan's original subtle and sunithi's modified subtle vocals.
3. The laidback underlying beats with harder set of additional beats at right places.
4. The faint tune sur behind the lines KEH DO NA
This song is about subtle passion.
Tu Hi Hera
The song starts with an off-da-hook beat pattern until 0.02, it is fantastic!
The cheeky feel good female vocals croon intermittently the underlying beats.
The bazz trumpet (for sike purposes) builds up the song well.
Fromn 0.11 to 0.18, note the TECNHO SOUND broken up pattern.
From 0.18 to 0.25, the emotional raga tune? But the underlying beats, feel good cheeky female croons and bazz trumpet all point to a feel good number.
Hence, the raga sound is an interesting mix.
The cheeky female vocals from 0.32 to 0.33, 1.18 to 1.19 and bazz trumpet from 1.27 to 1.28 add to feel good nature.
The lines TERE BIN MEIN MAR JAAWA sung with soothing feel are at that thin line that separates the middle and bazz octave, especially from 0.52 to 0.53, 1.36 to 1.37
The underlying beat effect and subsequent additional 2 sufi instrument hits from 0.54 to 0.56, 1.36 to 1.39 are off-da-hook
Well oh well, now the raga tune makes sense due to the desperation lyrics in lines 0.56 to 1.11
Himesh's lines, jee-NAAA (up twist with emphasis) at 1.50
The emotional raga tune returns between mukhda and 1st stanza, followed by cheeky female vocals, interesting mix.
1st stanza
The composition is very typical of Himesh sufi-rwak and the repetitive pattern 'idea' is borrowed from ABA stanzas.
The faint male haunt effect from 2.23 to 2.28
Bazz trumpet is used well in between.
Between 1st & 2nd stanza, the bazz trumpet is great along with a TECHNO SOUND from 3.01 to 3.08, followed by emotional raga tune.
2nd stanza
The composition is very typical of Himesh sufi-rock and the repetitive pattern 'idea' is borrowed from ABA stanzas.
The faint male haunt effect from 3.37 to 3.43
Bazz trumpet is used well in between.
Highlights of this song:
1. The off-da-hook start beat impact, the underlying beat effect and subsequent additional 2 sufi instrument hits, male haunt effect and the TECHNO SOUND PATTERN.
2. Himesh's soothing feel vocals on lines TERE BIN ME MAR JAAWA and singing on line AASHIQUI (mukhda).
3. Interesting use of desperation lyrics and emotional raga tune in an otherwise overall feel good song.
Verdict
Aap Ki Khatir was a mixed bag affair.
The title trax was its USP whereby decent tunes like I Love U 4 What U R, Tu Hai Kamaal, Meethi Meethi Baatan & Keh Do Na acted as shield cover for relatively average to weaker songs like Afsana Bangaya Hu and Tu Hi Mera.
All in all, an above average fair.
My Picks
From Himesh's "sung and composed" songs:
1. Aap Ki Khatir.
BEST PART of song is in between 2nd stanza gap whereby Himesh literally pours his heart out in lines, AAP KI (off-da-hook computerized vocal effect) from 3.18 to 3.19, KHATIR (off-da-hook computerized vocal effect) from 3.22 to 3.23
2. Tu Hi Mera.
3. Afsana.
From Himesh's "composed only" songs:
1. Keh Do Na.
2. Tu Hai Kamaal.
The BEST instrumental in the song is OFF-DA-HOOK fast drum roll beats from 0.56 to 0.58 & 1.39 to 1.41 that give tremendous kick.
3. Meethi Meethi Baatan.
The bansuri theme piece from start to 0.47 and used intermittently throughout is pleasantly likeable. Sunithi's BEST line is DILASA DE GAYA-AA-AA (off-da-hook fulltu high pitch, pours her heart out) from 0.59 to 1.03 & 1.31 to 1.34 followed by catchy rising raga tune from 1.02 to 1.03 & 1.37 to 1.39 and off-da-hook beat effect in unplugged mode from 1.03 to 1.04 & 1.39 to 1.40. Kailash Kher pours his heart out in his off-da-hook soulful desperation plea croon from 1.10 to 1.13 that strike a chord. The catchy string based raga tune in between 1st stanza from 2.00 to 2.20 is the best instrumental in the song. Jaspinder Narula pours her out with her off-da-hook fulltu high pitched prolonged desperation plea alaap AAAAAAAA from 5.36 to end.
4. I Love U 4 What U R.