Music review analysis of Himesh Reshammiya's album Vaah!Life Ho Toh Aisi (2005).
Teri Yaad
This is Himesh's BEST "in da house" peppy club feel composition and also the best song of this album.
The song begins with sharp beats and male vocals that build up the song with an 'international feel'.
Jayesh Gandhi joins in from 0.30 onwards with his bindaas party time croons.
The tune pattern from 0.46 to 0.55 is simple and catchy.
The underlying rhythmic free flowing foot tapping beats with a thump effect kick in from 0.56 onwards.
The heavy skip effect in the beat from 1.24 onwards is great.
The bazz sound at 1.33 & 1.59 gives some kick to the proceedings.
KK's line BHAAYE (terrific quick twist) from 1.52 to 1.53
The 1 hit tune at 1.54 gives HISTORY effect when heard in overall context of associated mukhda lines.
KK's line, HAR WAQT HAR PAL TARPAAYE (damn catchy vocals) along with a quick majestic rising tune from 1.55 to 1.57 is the BUILD UP part, followed by Instrumental / vocal KILL effect in line TERI YAAD YAAD * 2 from 1.57 to 1.58 with a quick repetitive whoosh skip effect, followed by a profound wicked bazz sound effect at 1.59 that gives halke se kick.
Between mukhda & 1st stanza, off-da-hook heavy beat skip effect from 2.16 onwards that gives kick is joined in by a catchy tune piece from 2.25 to 2.30 along with an underlying bazz sound. A funky feel good guitar plays from 2.31 to 2.39 in semi-plugged beat mode.
1st stanza
The quick beat effect from 2.41 to 2.42 gives perfect kick start to KK's vocals.
The composition pattern is infectiously melodious.
KK is complimented by Jayesh very well.
The continuous tune sur from 2.47 to 2.48 gives HISTORY overall combined effect along with vocals.
The continuous mysterious haunt feel background tune with an International touch behind lines MERE SANG HAMESHAA from 2.46 to 2.48 is some seriously deadly orchestration in overall context of associated lines, that gets da listener into da zone to feel it.
KK's line, HAMESHAIYA (terrific passionate emphasis) from 2.47 to 2.48, SAAIYAAA (terrific passionate emphasis) from 2.49 to 2.50
The lines, HOTON PE SIRF TERI BAAT * 3 from 2.56 to 3.04 follow Himesh's fixed formula of catchy repetitive hooks used in pre ABA item numbers.
Between 1st & 2nd stanza, Jayesh expresses himself followed by melodious soothing female chorus.
2nd stanza
The quick beat effect from 3.58 to 3.59 gives perfect kick start to KK's vocals.
The composition pattern is infectiously melodious.
KK is complimented by Jayesh very well.
KK's line, TERA HI TERA HI (terrific sharp knife edge passionate emphasis vocals give JAZBA) from 4.03 to 4.06
The continuous mysterious haunt feel background tune with an International touch behind lines TERA HI TERA HI from 4.04 to 4.06 is some seriously deadly orchestration in overall context of associated lines, that gets da listener into da zone to feel it.
Jayesh's line, OH HO (HISTORY high pitched croon) from 4.10 to 4.11
KK's lines, DIL KI DEEWAAR PE TU HI TU (HISTORY catchy vocals) from 4.11 to 4.13, RAG RAG ME TU BAHE MERE SAATH * 3 (HISTORY catchy repetitive hook) from 4.13 to 4.21
Jayesh Gandhi pours his heart out in his line YAAAAAAAD (HISTORY prolonged catchy soulful croon) from 4.45 to 4.49
Highlights of this song:
1. KK's sharp knife edge vocals and Jayesh Gandhi's croons.
2. English male rap vocals and soothing female chorus.
3. The underlying thumping rhythmically foot tapping beats.
4. History continuous tune sur in stanzas, history 1 hit tune at 1.54, splendid keyboard flicks, bazz sound effect/s and funky feel good guitar.
4. Each and every note of this song is melody coupled by rwaking rhythm that makes it the ultimate winner in this genre.
Pyar Mein Tere
The song starts with a catchy beat in semi-unplugged mode and underlying bazz 'voltage' sound followed by bazz trumpet.
Sonu croons with his soothing feel vocals with emphasis on the line YAAAR-RR (abrupt twist) at 0.30, 0.44 BEKARAAR (interesting tune sur) from 0.35 to 0.37, 0.49 to 0.51
The repetitive mukhda line PYAR MEIN TERE * 3 (normal note) from 0.52 to 1.01, 1.27 to 1.36, PYAR MEIN TERE * 3 (lower note) from 1.02 to 1.11, 1.37 to 1.46 can be related to lines CHAKNA CHAKNA (normal note) that were the build up part followed by CHAKNA CHAKNA (lower note) from NAMASTE LONDON that gave the complete mukhda effect.
The main beats kick in from 1.15 onwards.
The tabla effect followed by drum beat effect from 1.27 to 1.29 gives the sahi desired effect.
The beats are in full flow from 1.30 onwards and the female chorus behind Sonu's lines enhances the feel good melody.
Between mukhda and 1st stanza, a feel good tune plays along with wicked male vocals.
1st stanza
It is a total display of HR's fixed formula of catchy repetitive hooks with the feel good lines KABSE, RABSE, OH JAANA
There is a slight Arabian touch from 2.16 to 2.20, 2.33 to 2.35
Between 1st and 2nd stanza, the catchy beat returns along with clap effect and the soothing female chorus from 3.06 to 3.19 is a musical treat especially the sudden abrupt twist at 3.12 which is a delight and BEST part. I totally fail to understand and give up why HR has stopped using one of his biggest assets in music i.e. the soothing female chorus. Shreya croons with her melodious vocals as a follow up.
2nd stanza
It is a total display of HR's fixed formula of catchy repetitive hooks with the feel good lines KYA HAI, EK CHEHRA, EK PHEHRA
There is a slight Arabian touch from 3.48 to 3.52, 4.05 to 4.07
Highlights of this song:
1. Sonu's feel good vocals.
2. The female chorus behind Sonu's lines and their melodious croons best part of the song in between 1st and 2nd stanza which is a musical delight.
3. The raw underlying rhythmic beats, the catchy beat effect at start, bazz trumpet, the Arabian touch in stanzas and the tabla effect followed by drum beat effect.
This is an effortless peppy feel good melody from HR courtesy due to the effective repetitive hooks.
Chahenge Tumhe
Udit starts this song with his soothing vocals in unplugged mode along with a likeable piano piece.
The underlying beats are very similar to the underlying beats of NANHE YAAR from NANHE JAISALMER.
The 3 lazy hits from 0.30 to 0.31, 0.50 to 0.51, 1.17 to 1.19, 1.40 to 1.41, 1.50 to 1.51 were also used in song Kabhi Na Sukun Aaya (Koi Aap Sa) from 1.21 to 1.22
The flute piece is quite pleasant followed by traditional Indian string instruments.
The melody is feel good.
The soothing female chorus from 1.07 to 1.17
The tune sur from 1.21 to 1.28
Shreya's lines from KARENGE at 1.26, AAB TUMSE from 1.28 to 1.29, RAAT at 1.35 are melodious.
Udit's lines from 1.43 to 1.48, 4.58 to 5.03 are great.
The rising keyboard pattern from 1.56 to 1.58 is great.
Between mukhda and 1st stanza, feel good cello piece plays followed by likeable keyboard tune.
1st stanza
The 3 lazy hits from 2.40 to 2.41 give good kick start to the stanza.
The composition and vocals are very feel good.
Shreya's vocals in unplugged mode from 2.58 to 3.08 along with old drum skip and faint female chorus are representative of the typical traditional out door shy girl.
The cello piece from 3.09 to 3.10 enhances the feel good laid back reputation of the song.
Between 1st and 2nd stanza, the piano piece is lovely followed by soothing female chorus.
2nd stanza
The 3 lazy hits from 4.02 to 4.03 give good kick start to the stanza.
The composition and vocals are very feel good.
Shreya's vocals in unplugged mode from 4.20 to 4.31 along with old drum skip and faint female chorus are representative of the typical traditional out door shy girl.
The cello piece from 4.31 to 4.33 enhances the feel good laid back reputation of the song.
Shreya's line ZIN (great feel emphasis) dagi at 4.34
The soothing female chorus kicks in from 5.23 onwards and cast their magic spell.
Highlights of this song:
1. Udit's subtle feel vocals and shreya's innocently cute vocals.
2. The NANHE YAAR (NANHE JAISELMER) styled beats.
3. The Indian string instrument, lovely piano piece, cello and flute.
4. Soothing female background chorus and continuous feel good keyboard tune sur in stanza.
5. The KABHI NA SUKUN AAYA (KOI AAP SA) type lazy beats.
Koi Aap Jaisa
The song starts with string based instrument.
Kunal croons in feel good vocals along with finger snaps and feel good female chorus.
The fast drum-roll beats from 0.50 to 0.51, 2.23 to 2.24, 2.43 to 2.44 are similar to the drum-roll beats from 0.22 to 0.25, 1.34 to 1.35, 1.54 to 1.55 in GUSTAKH DIL (DIL MANGE MORE), from 0.33 to 0.34 in BOYS ARE BEST (CHURA LIYA HAI TUMNE), from 0.38 to 0.39 of TAAZA TAAZA (KYA DIL NE KAHAA), from 0.57 to 0.58 in OH JAANA (TERE NAAM).
The underlying peppy beat pattern is representative of the underlying beat pattern of GUSTAKH DIL (DIL MANGE MORE), BOYS ARE BEST (CHURA LIYA HAI TUMNE), TAAZA TAAZA (KYA DIL NE KAHAA) and OH JAANA (TERE NAAM).
The feel good trumpet plays from 0.49 to 1.03
The funky guitar plays from 1.04 to 1.09 followed by feel good female croons.
What follows is the best and awesome typical melody from 1.19 to 1.29 especially the lines MEEEE (up down feel) at 1.21, 1.55, khush-IIIII (up down feel) at 1.26, 2.00 is terrific.
The female chorus AHA AHA adds to the feel good nature of the song.
The rising keyboard flick pattern at 1.53 is awesome.
Shreya's line MIL(with emphasis twist)JAA(with emphasis twist)YE(with emphasis twist)TOH from 2.06 to 2.07, 2.15 to 2.17
Shreya's line BAAT BAN JAAYE (nice) SANAM-MMM(down 2 notes)-MMM(up 1 note) from 2.09 to 2.10, is typical of HR.
Between mukhda and 1st stanza, feel good tune pattern plays followed by funky guitar.
1st stanza
Kunal and Shreya sing with feel good vocals.
The best melody returns from 3.23 to 3.34
Between 1st and 2nd stanza, the female chorus croons to give a subtle feel.
2nd stanza
Kunal and Shreya sing with feel good vocals.
The best melody returns from 4.34 to 4.44
Highlights of this song:
1. The best melody of the song from 1.19 to 1.29, 3.23 to 3.34 and 4.34 to 4.44
2. Shreya's innocently cute melodious vocals.
3. The fast drum roll beats, peppy underlying beats, keyboard flick patterns and female chorus.
Dil Ke Maare Hai
The song begins with a catchy guitar piece pattern followed by feel good female chorus.
The beats from 0.09 to 0.18 were used similarly in start of BAN JAAIYE (SILSILAY).
The feel good trumpet plays from 0.20 onwards followed by soothing female chorus.
The repetitive piano piece pattern from 0.39 to 0.48, 1.41 to 1.45 is likeable and it also plays intermittently.
Udit sings with feel good vocals.
The beat effect from 1.10 to 1.11, 1.40 was similarly used from 1.21 to 1.22 in AANKHEN BANDH KARKE (AAITRAAZ).
Udit's line AATEEEEEEEE (prolonged feel good pitch variation) from 1.23 to 1.25, 1.53 to 1.57, 3.08 to 3.12 was also used from 5.15 to 5.16 in AAKHIYAAN LADAA JA (BLACKMAIL).
Between mukhda and 1st stanza, feel good female chorus croons followed by the likeable repetitive piano piece.
1st stanza
The composition pattern and singing style is feel good.
The lines from 2.33 to 2.37 remind of the 90's and subtle chorus effect is great.
Between 1st and 2nd stanza, the piano piece with an Arabian touch plays followed by a harmonica tune and theme piece.
2nd stanza
Alka arrives with her melodious vocals on feel good composition pattern.
The lines from 3.57 to 4.02 remind of the 90's with emphasis on KARAAR (high note, melody) and the subtle chorus effect enhances the melody feel.
Alka's line AATEEEEEEEE (prolonged feel good pitch variation) from 4.31 to 4.36 was also used from 2.40 to 2.43 in AAKHIYAAN LADAA JA (BLACKMAIL).
Highlights of this song:
1. Alka's melodious vocals and Udit's feel good vocals.
2. The feel good melodious chorus.
3. The guitar piece at start, the likeable piano theme piece and beat effect.
This song is all about feel good melody.
My Picks
1. Teri Yaad
Underlying beats are rhythmic. The BEST MELODY of mukhda is the catchy repetitive hook TERI YAAD. A HISTORY tune sur key at 1.54 in overall context is followed by quickly rising catchy keys from 1.55 to 1.57. The profound bazz sound effect at 1.59 gives HALKE SE KICK. Between 1st stanza gap, underlying profound beat skips itself along with catchy tune from 2.25 to 2.30. KK's BEST lines in 2nd stanza, TERA HI TERA HI (TERRIFIC sharp knife edged intense emphasis vocals) from 4.04 to 4.06 , HO - OO (HISTORY croon) from 4.10 to 4.11, DIL KI DEEWAAR PE TU HI TU (catchy middle octave) from 4.11 to 4.13, RAG RAG ME RAHE TU MERE SAATH (catchy repetitive hook) from 4.14 to 4.21. Jayesh POURS HIS HEART OUT in his CATCHY SOULFUL CROON from 4.45 to 4.49
The key tune (just 1 compositional note) in da background at 1.54 is HISTORY at when heard in overall context of associated lines. Jayesh Gandhi's high pitch croon HO OH (just 2 compositional notes) from 4.10 to 4.11 is HISTORY when heard in overall context of associated lines. This shows da magic of Himesh where by he can deliver infectiously catchy typical unique HR melody by use of just a single or two notes.
2. Chahenge Tumhe.
3. Koi Aap Jaisa.
BEST MALE LINES in song are Kunal's lines from 1.19 to 1.29, 3.23 to 3.34 & 4.34 to 4.44 with emphasis on his line MEEIN (OFF-DA-HOOK feel twist) from 1.21 to 1.22, KHUSHIIIII (OFF-DA-HOOK feel twist) from 1.26 to 1.27, 3.30 to 3.31 & 4.41 to 4.42. BEST FEMALE LINES are KOI AAP JAISA MIL JAAYE TOH BAAT BAN JAAYE SANAM from 2.04 to 2.20, 3.35 to 3.41 & 5.05 to 5.10 get melodiously heavy on da listester.
4. Pyar Mein Tere (chashme baddur)
BEST PART in song is OFF-DA-HOOK soothing female chorus lines CHASHME BADDUR TERA YAAR HO GAYA HAI BEKARAAR from 3.06 to 3.19 in between 2nd stanza gap.
5. Dil Ke Maare.