vaada12

Music review analysis of Himesh Reshammiya's album Vaada (2005).

Vaada Hai Yeh

This song brings together 3 veterans i.e. Sanu, Udit and Alka.

The haunting female vocals along with sitar give good effect.

From 0.11 onwards, the piano tune is the theme piece of this song, the soothing female chorus join in later.

The 3 slow drum beats from 1.18 to 1.19, 1.47 to 1.48, 3.07 to 3.08 & 4.38 to 4.39 give sahi desired effect.

The lines, teri dhadkano ki kasam jab tak hai dum mein dum (good effect).

Alkas haunting vocals at 2.00, vaada hai YEEEIIIIN.

From 2.32 to 2.36, great haunting female vocals.

1st stanza

At 2.38, fast paced tabla beats.

The lines, bikkul haaquekat he yeh samjho na isko bharam along with female chorus give great overall effect.

From 3.12 to 3.24, alka's melodious vocals return.

Between 1st & 2nd stanza, the piano pattern is haunting from 3.25 to 3.37, followed by shenayi tune to good effect. The piano theme piece plays followed by female haunt vocals along with sitar.

2nd stanza

At 4.10, fast paced tabla beats.

Alka's line AAB GAWARAH (melodious) from 4.15 to 4.17

From 4.31 to 4.37 TERI CHAAHATON ki liyEEEEE (melody pinch), lungi hazaroon JANAMMMMM(terrific classical twist) YEAAAA (terrific classical twist).

From 4.59 to 5.07, female haunt chorus are great.

From 5.23 till end, the theme piano piece along with soothing female chorus gives overall feel good haunting melody.

Highlights of this song:

1. The piano theme piece and sitar along with female chorus.

2. Udit's soothing vocals, Alka's melodious haunting vocals and Sanu's sharp low pitched vocals.

3. The fast paced table beats in beginning part of stanza and 3 slow tabla beats behind lines...pyar na hoga kum.

4. The raaga instrument albeit only to an extent.

Main Ishq Uska

Alka opens this song with impactful melody. The LA LA from 0.03 to 0.04 is best and the composition pattern for this piece is fantastic.

The soothing female chorus is great followed by tune sur at 0.33 and 0.35

Emphasis on lines LADKI (0.41, 1.28 ) and ZINDAGI HAI (0.43 to 0.44, 1.30 to 1.31)

The build up with female vocals and 3 lazy hits (also used in KABHI NA SUKUUN AAYA – KOI AAP SA) is great.

The additional beats from 1.23 to 1.25 were also used in song DIL KE BADLE SANAM from KYUN KI behind the lines DE CHUKE DE CHUKE.

Between mukhda and 1st stanza, the bazz trumpet along with tune is great followed by Alka's melodious LA LA LA (emphasis on 1.47 and 1.52).

1st stanza

The descending jingle chimes from 2.12 to 2.14 give mesmerizing effect to the stanza.

The keyboard flick from 2.28 to 2.29 is nice.

Between 1st and 2nd stanza, alka returns with her melodious LA LA which is the THEME PIECE in essence.

2nd stanza

The key is the tune sur behind the male vocals.

There is nice twist in line SAARGAM and the lyric TISHNAGEE is likeable.

The powerful female chorus finish off the song.

Highlights of this song:

1. Alka's melodious THEME PIECE used intermittently throughout the song.

2. Female chorus, tune sur in stanzas, the 3 lazy KABHI NA SUKUUN AAYA style beats, the additional DIL KE BADLE SANAM beats.

3. Babul Supriyo's lines LADKI, ZINDAGI MERI that express the passion and lust for the lover.

4. The descending jingle chimes in 1st stanza.

Teri Kurti Sexy

This is a peppy feel good number which contains "unique typical HR melody"

The song starts with a heavy groovy string instrument plucking away.

The tune sur from 0.07 to 0.09 is TERRIFIC.

The harmonica tune followed by female whispers AAH is nice.

Shaan's feel good vocals are great with emphasis on VEEEEE (twist) at 0.46, 0.51, 0.56 and 1.01.

The rebel sound at 0.48, 0.53, 0.58 and 1.03 enhance the feel-good nature of this song.

The lines...chunari SEXY-IIIIIIII (quick twist) are great along with additional female chorus in different pitch.

Anuradha Sriram sings with penetrating vocals.

The lines LAGDI VE * 2 are sung with added vigor.

The lines...chehra SEXY-IIIIIIII (quick twist) are great along with additional female chorus in different pitch.

The six drum beats from 1.16 to 1.17 and from 1.43 to 1.44 give good intermittent effect.

The female vocals saying KURTI are darn effective.

Between mukhda and 1st stanza, the female croons of SEXY are nice.

1st stanza

The line TERE LIYE HE MERI MOHABBAT (sung with soothing feel) is typical unique HR melody which none other composer can give.

The female vocals AKHIYA and BATIYA are great.

Between 1st and 2nd stanza, the female chorus is nice along with seductive female chant AAAH

2nd stanza

The line TU MERI SAANSEIN TU MERA JEEVAN (sung with soothing feel) is typical unique HR melody which none other composer can give.

The female vocals CHEHRA, CHALNA, KURTI, SEXY are great.

Highlights of this song:

1. The theme violin piece in lines of teri kurti sexy lagti hai and the terrific tune sur in beginning of song.

2. The rebel vocals, lazy 6 hit heavy drum beats, seductive female AAH, soothing female chorus vocals and the starting heavy plucking string instrument that sets the undertone of this song.

3. Shaan's soothing feel vocals in stanzas, powerful LAGDI VE, the quick twist in SEXY-IIIIII that gives some sike, the twist in VEEEE and Anuradha's deep penetrating vocals.

4. Unique typical HR melody in shaan's stanza portions wherever mentioned, interesting lyrics.

(tab=Main Deewana}

The song begins with a prolonged shehnayi piece.

Udit arrives with his subtle feel vocals followed by Alka's melodious vocals.

The song rather picks up suddenly at 0.44 when two drum beats hit it followed by the underlying beats and female chorus.

The 3 lazy drum beats at 1.05 were also similarly used from 1.21 to 1.22 in KABHI NA SUKUUN AAYA (KOI AAP SA).

Udit's line DEEWAANA (desperation twist) at 1.13 and 1.42

The fast tabla beats from 1.34 to 1.35, 1.55 to 1.56 followed by drum beat effect from 1.36 to 1.37, 1.57 to 1.58 give sahi desired effect.

Alka's lines TASAVUR, HAR are melodious.

Between mukhda and 1st stanza, the female chorus returns followed by sitar tune pattern.

1st stanza

The fast tabla beats from 2.40 to 2.41 were also used in KYUN KI TITLE TRAX from 3.10 to 3.12 and 4.32 to 4.34

Alka's melodious vocals are likeable.

Udit adds a bit of subtle feel from 2.59 to 3.09

Between 1st and 2nd stanza, a traditional tune pattern plays.

2nd stanza

The fast tabla beats from 3.43 to 3.44 were also used in KYUN KI TITLE TRAX from 3.10 to 3.12 and 4.32 to 4.34

Alka's melodious vocals are likeable and her lines SEEP ME MOTI are good lyric selection.

Udit adds a bit of subtle feel from 4.02 to 4.12

The female chorus finishes off the song.

Highlights of this song:

1. Alka's melodious vocals, udit's soothing feel vocals and female chorus.

2. The shehnayi, the 3 lazy beats, the drum beat effect and fast tabla beats at start of stanzas.

Ud Ud Jaye

Surprise! Himesh changes his sound for a change and breaks away from that typical bollywood music director.

He tries his hands at Sufi Rwak and succeds big time.

There is n build up in this song whose beats arrive with an immediate bang and make a solid impact from the word go.

Having said that, Himesh deliberately builds up this song in the latter stages to come only to give SIKE and get the ADRENALINE flowing.

Kailash Kher croons with all his might the opening lines that take some time to get used to (uud uud uud).

Lets talk about effect. The lines, tere naal dil da parinda tere naal dil da, followed by stunning keyboard tune (up down) at 0.39, uud uud uud jaaaye aye aye, the instruments stop, the sike slowly builds and the Himesh just hits it from 0.48 onwards, after which the foot tapping sufi beats kick in.

The quick set of drum beats used to tremendously build up the song and that give KICK (first set lighter and second set heavier) from 0.47 to 0.50, 1.20 to 1.22, 2.42 to 2.45 & 4.10 to 4.12 were similarly used from 0.48 to 0.51, 1.08 to 1.10, 2.54 to 2.56 & 4.46 to 4.48 in MAINE CHUN LIYA from DIL MANGE MORE.

At 0.11, the keyboard plays just once, giving sahi sur.

The clap effect from 0.25 to 0.44 is enhances the build up.

From 1.20 onwards, the listener has got hold of the sike and what HR wants him/her to experience.

What are punjabi styled beats doing in a sufi number! Well, that's what happens between 1.40 and 1.45

Stanzas are just simply RWAKING!

1st stanza

From 1.50 onwards, Himesh exploits kailash's middle-lower octave with lines, deewana deewana deewana me tera deewana hoon, jaana jaana oh meri jaana, me tera nishana hoon. The instrument giving sur from 1.58 to 2.00 is awesome.

From 2.10 onwards, sunithi joins in with her feel good vocals.

At 2.14, khwabon me hai YAADON (emphasis, awesome) me hai

At 2.33, tere naal chahat ka (keyboard hits once to give sur).

Again sike building part from 2.42 to 2.45

Between 1st & 2nd stanza, the groovy tune piece is great followed by female chorus.

2nd stanza

Kailesh kher casts magic over listeners with his terrific vocals.

The lines, rangh de mujhe rangh de tere PYAAR (awesome) ke rangh se. The instrument (keys hitting many times around 6 quick times) from 3.26 to 3.27 is awesome.

The lines, ye PREM (awesome) kahani ki. The instrument (keys hitting many times around 6 quick times) from 3.36 to 3.37 is awesome.

Sunithi takes over with her feel good vocals, GAVARAH, SAHARAH is great tune by Himesh.

The lines, tere naal kadamo ki aahat * 2 mudh * 4 jaaye, special mention for LYRICS.

Song finishes on high note espcially from 4.45 onwards when female chorus croons kahi chain na aaye, followed by what kailesh does best on high pitch.

Highlights of this song:

1. Kailash Kher's sufiana anzad vocals tailor made for this song.

2. Sunidhi chauhans feelgood vocals.

3. The sike Himesh builds with the right timing and build of instruments and then just hits it.

4. The SUR given by instrument keys in antaras.

5. The RWAKING foot tapping peppy underling sufi beats.

Once the listeners get over the "uud uud uud uud jaaye" part and gives this song a second chance, they will get hooked on.

This is Himesh's BEST Sufi-Rwak 'composed only' song in pre-ABA era.

Listen this song if you are looking for some sike and beats, that will not make you dance but set your foot tapping for a mood change.

Maula

Himesh experiments with his sound big time and tries a new genre.

It is a shift of sound domain.

The song begins with raga tune in unplugged mode and the phone line tone plays intermittently.

The 3 heavy drum beats from 0.18 to 0.19 give the required kick start and the raga tune plays along with a heavy techno sound bazz sound.

Kavita Seth sings with haunting husky vocals and the tune sur pattern in her lines is effective.

Her lines HUSN IS KO * 2 from 0.55 to 1.02, and MAAAUULLLLAAA (prolonged quick twist, AWESOME) from 1.09 to 1.11 are sung with classical touch.

Between mukhda and 1st stanza, groovy haunting male vocal play along with techno bazz sound followed by raga tune pattern.

1st stanza

Kavitha continues to sing with a classical touch.

Once again, her line MAAAUUULLLAA (prolonged quick classical twist) from 2.54 to 2.56 and it is great composition pattern.

From 2.57 onwards, she sings in unplugged mode with background techno bazz sound that gets gradually heavier and from 3.05 to 3.14 it is OFF-DA-HOOK. Just hear it roar!

Kavitha's classical croons from 3.17 to 3.31 are penetrating with a desperation sadistic touch.

2nd stanza

Kavitha continues to sing with a classical touch and the techno sound makes its presence felt.

Once again, her line MAAAUUULLLAA (prolonged quick classical twist) from 4.13 to 4.15 and it is great composition pattern.

The techno sound followed by phone line tone pattern followed by raga tune and haunting computerized vocals from 4.16 to 4.48 once again build up the song and the listener wonders if the song is actually going to get over.

But the techno bazz sound kicks in again from 4.50 along with groovy haunting male vocals and Kavitha seth's voice with a haunting echo effect.

Highlights of this song:

1. Kavitha seth's haunting husky vocals and groovy haunting male vocals.

2. The tune pattern in mukhda lines, raga tune, heavy drum beat effect, phone line tone and techno bazz sound.

3. The BEST parts of this song are MAAAUUULLLAA (prolonged quick classical twist), off-da-hook gradually roaring techno bazz sound from 3.05 to 3.14 and the repetitive pattern of techno sound followed by phone line tone from 4.16 to 4.48 that somewhat deceives the listener.

This is the 1st song of Himesh in the extreme EAST WEST COMBO FUZION and it truly shows a new facet of Himesh – the composer as a pleasant surprise.

My Picks

1. Vaada Hai Yeh & Uud Uud Jaaye (tie).

2. Main Ishq Uska.

3. Maula & Teri Kurti Sexy (tie).

4. Main Deewana.

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