Music review analysis of Himesh Reshammiya's album Julie (2004).
Hum Tumse Dil
This song begins with Udit's soothing feel vocals in unplugged mode along with an underlying subtle majestic sound, with emphasis on CHAIN-O-SUKOON (awesome lyrics), BAITHE (awesome halke se feel twist, one of best parts in song) from 0.11 to 0.13 & 0.32 to 0.34
The semi-plugged beat kicks in from 0.36 onwards along with a string based instrument.
The combo of soothing chorus and pleasant bansuri play from 0.43 to 0.53, followed by bazz trumpet from 0.54 to 1.04
The 3 lazy hits from 1.04 to 1.05 gives a perfect kick start to the mukhda lines.
There is a heavy dose of tabla in the underlying beats.
Udit's lines, MUSKHIL-LLL (normal note desperation twist) from 1.06 to 1.07, JAANTE THE-EEE (normal note desperation twist) from 1.09 to 1.10, KARENGE-EEE (AWESOME higher note desperation twist gives KEY overall effect) from 1.12 to 1.13, MAANTE-THE-EEE (normal note desperation twist) from 1.15 to 1.16
Udit's line, KYU–UUUU (awesome profound down twist) from 1.18 to 1.19 & 3.19 to 3.20 was similar to himesh's line CHA-INNN (awesome profound down twist) from 2.14 to 2.15, PA-AAAS (awesome profound down twist) from 2.17 to 2.18 in AARZOO from MR FRAUD.
The profound quick tabla beat effect from 1.22 to 1.26, 3.24 to 3.27 & 5.07 to 5.11 gives sahi desired effect.
A TERRIFIC RAGA tune with emotional feel quotient plays from 1.40 to 1.41, 3.29 to 3.31 & 5.25 to 5.26 and is one of best parts in song.
The classy Anuradha Paudwal sings with melodiously penetrating / pinch vocals.
Anuradha's lines, SE (high pitched melodious pinch) at 1.48, 3.26 & 5.11, BAI (sudden high pitched melodious pinch) THE from 1.50 to 1.51, 2.02 to 2.03, 3.28 to 3.29 & 5.12 to 5.13, SUK-UUN (OFF-DA-HOOK high pitched quick melodious pinch twist, one of best parts in song) at 1.54 & 5.16
A likeable string instrument plays at 1.52 and the female subtle feel chorus accompanies the vocals from 1.58 to 2.04 & 3.36 to 3.42
The profound quick tabla hits from 2.03 to 2.04 give completeness effect to Anudadha's preceeding lines.
Between mukhda & 1st stanza, the classical sitar with emotional feel plays with great twists.
1st stanza
The fast paced tabla beats from 2.29 to 2.30 give perfect kick start to the stanza.
Udit's catchy repetitive hooks CHAHAE * 3 (awesome desperation feel emphasis twist) from 2.31 to 2.36 & 2.42 to 2.48 is a fixed pre-ABA formula used by Himesh.
The intermittent raga tune from 2.37 to 2.39 & 2.48 to 2.50 gives emotional feel.
Anuradha's lines from 2.51 to 3.05 have high pitched melodious pinch, with emphasis on DEKH at 2.53
The laidback drum skips along with subtle bansuri behind Anuradha's lines from 2.51 to 3.02 gives awesome traditional feel.
A quick groovy tune plays from 3.05 to 3.06
The quick key flicks along with Udit's lines from 3.08 to 3.15 are of great cause.
The profound quick tabla hits from 3.41 to 3.42 give completeness effect to Udit's preceeding lines.
Between 1st & 2nd stanza, da combo of cute intermittent flute and feel good guitar piece from 3.43 to 3.56 is followed by female chorus with feel factor.
2nd stanza
The fast paced tabla beats from 4.13 to 4.14 give perfect kick start to the stanza.
Udit's catchy repetitive hooks ROKA * 3 (awesome desperation feel emphasis twist) from 4.15 to 4.20 & SOCHA (awesome desperation feel emphasis twist) from 4.26 to 4.32 is a fixed pre-ABA formula used by Himesh.
The intermittent raga tune from 4.20 to 4.23 & 4.32 to 4.35 gives emotional feel.
Anuradha's lines from 4.35 to 4.49 have high pitched melodious pinch, with emphasis on JAATE at 4.39, & UTHATE at 4.45
The laidback drum skips along with subtle bansuri behind Anuradha's lines from 4.37 to 4.46 gives awesome traditional feel.
A quick groovy tune plays from 4.49 to 4.50
The feel good guitar strings along with Udit's lines from 4.52 to 4.59 are of great cause.
The quick key flicks along with Udit's lines from 5.09 to 5.11 & 5.21 to 5.23 are of great cause.
A special mention for Udit's line CHAIN-O-SUKUUN (TERRIFIC desperation feel, one of best parts in song) at 5.26 which is sung in a subdued voice (rather than the usual high note) one single sur note.
The song ends with soothing female chorus from 5.38 onwards that depict the feel factor extremely well.
Highlights of this song:
1. The special package Anuradha Paudwal's melodious penetrating / pinch vocals (as she does limited selective work).
2. Udit Nayaran's soothing and desperation feel vocals.
3. The three best parts in song i.e. terrific raga tune from 1.40 to 1.41, 3.29 to 3.31 & 5.25 to 5.26 that enhances the reputation of this semi-classical song, Udit's line BAITHE (awesome halke se feel twist) from 0.11 to 0.13, 0.32 to 0.34 & at 5.26, and Anuradha's line SUK-UUN (OFF-DA-HOOK high pitched quick melodious pinch twist) at 1.54 & 5.16
4. The fast paced profound tabla beats to give sahi desired effect, traditional laidback drum skips, classical sitar, quick groovy tune, subtle traditional flute / bansuri and quick key flicks in stanzas, feel good guitar piece and likeable string based instrument.
5. Female background chorus that was a norm in his earlier pre-ABA compositions.
This is one of Himesh's best "semi-classical" composed only song in pre-ABA era.
Dhadkan Ho Gayee
The song begins with an mesmerizing oriental flute that was used at start of MAINE CHUN LIYA from DIL MAANGE MORE, followed by chorus with feel factor .
The music arrangement reminds of Nikhil - Vinay style but the tune is very typical of Himesh.
From 0.22 to 0.43, the tune pattern representative of traditional bandbaaja baarat setting is likeable and it is aided by fast-paced tabla and dholak beats.
The catchy repetitive piano keys from 0.48 to 0.51 are of great effect.
Udit's lines, mushkil hai BADA (awesome feel) from 0.57 to 0.59, 2.38 to 2.40, 4.30 to 4.32
Udit's and Alka's line NA (normal note) - AA (higher note) from 1.00 to 1.01 & 1.27 to 1.28 was similarly used in Himesh's line DE (normal note) - EE (higher note) from 3.09 to 3.10 & 4.27 to 4.28 in RABBA LUCK BARSA from KAJRAARE.
The likeable synthetic piano tune sur keys between 1.00 & 1.18, 1.27 & 1.41, 2.42 to 2.59, 4.08 to 4.24, 4.34 to 4.51 are of great cause.
The fast paced raw drum beats from 1.08 to 1.10 & 1.35 to 1.36, 2.50 to 2.51, 4.15 to 4.16 give sahi desired effect.
Udit's lines, KYAA (awesome profound down twist) from 1.03 to 1.04, 2.44 to 2.45 & 4.36 to 4.37
Alka's lines, HOO (twist) from 1.18 to 1.19 & AAA (twist) SHNA from 1.21 to 1.22 have TYPICAL UNIQUE HR MELODY TWIST.
Alka's like, KYAA (awesome profound down twist) from 1.30 to 1.31 is likeable.
From 1.32 to 1.33, the rising keyboard flick and fast tabla beats make a good combo.
An awesome traditional flute / bansuri plays from 1.42 to 1.44 in subtle mode.
Between mukhda & 1st stanza, the likeable traditional flute / bansuri along with heavy profound traditional beat that hits it hard and sharp is followed by awesome female chorus with emotional feel and a classical raga tune.
1st stanza
The fast tabla beats from 2.02 to 2.03 give a good kick start to the stanza.
Udit's lines, BHAAYA (subtle feel twist) from 2.04 to 2.05 & SAMJHAAYA (subtle feel twist) from 2.15 to 2.16
The likeable harmonica piece plays from 2.08 to 2.10
The pleasantly likeable traditional flute / bansuri plays from 2.19 to 2.22
The heavy profound traditional beat that hit is hard and sharp from 2.22 to 2.32 and the rising tune sur from 2.31 to 2.32 are of great cause behind Udit's subtle feel lines.
The repetitive haunt keys from 2.38 to 2.41 depicting a sense of urgency and the quick rising keyboard flick from 2.47 to 2.48 is of great cause.
Between 1st & 2nd stanza, a traditional Rajasthani folk tune pattern plays followed by an awesome pleasant traditional flute / bansuri with emotional feel.
2nd stanza
The fast tabla beats from 3.27 to 3.28 give a good kick start to the stanza.
The likeable harmonica piece plays from 3.33 to 3.36
Alka's line KYA (typical unique HR emphasis twist) from 3.42 to 3.43 reminds of the line PYAR AAYA (typical unique HR emphasis twist) at 2.38, 2.50 & 5.49 to 5.57 in KABHI NA SUKOON AAYA from KOI AAP SA.
The pleasant subtle traditional flute / bansuri plays from 3.44 to 3.47
The rising tune sur from 3.56 to 3.58 are of great cause behind Alka's subtle feel lines.
The repetitive haunt keys from 4.03 to 4.07 depicting a sense of urgency and the quick rising keyboard flick from 4.12 to 4.14 is of great cause.
The soothing chorus with emotional feel from 4.51 ends the song with an impact.
Highlights of this song:
1. Udit's soothing feel vocals and Alka's melodious vocals.
2. The oriental flute piece at start, traditional flute / bansuri, raw fast paced drum and dholak beats, catchy likeable synthetic piano keys, heavy profound traditional beat hits and likeable harmonica tune.
3. Chorus with emotional feel.
Ae Dil Ye Bata
The song begins with a lovely piano piece, joined in by a continuous haunt mysterious tune from 0.11 to 0.20
The whoosh effect from 0.20 to 0.21 is of good cause.
The musician flicks quickly through his keyboard from 0.21 to 0.38 depict a sense of urgency in proceedings, with a graph that ends on a high.
The start-stop gap from 0.37 to 0.39depicts the lull after the storm and beings thehrav to proceedings.
A passionate intense violin piece plays from 0.40 to 0.57 depicts the emotional bonding quotient.
The rising continuous tune sur from 1.18 onwards gives haunt feel.
Alka's lines, YEH PYAR HAI YAH PHIR (awesome gradually rising notes) from 1.33 to 1.35, until the peak line, KUCH AUR HAI (OFF-DA-HOOK fulltu high-pitched melody) from 1.36 to 1.37 & , AAA-AAAI-AAAI (prolonged twists) from 1.37 to 1.40 & 2.05 to 2.08
The underlying beat from 1.40 onwards is laidback rhythmic.
Alka's line, SEENE MEE-EE-EE-EE (up down haunt feel melody twist) from 1.51 to 1.53
The gradually rising continuous keyboard flick pattern from 1.40 to 1.45 & 2.08 to 2.13 is splendidly majestic and gives completeness effect to Alka's preceeding lines.
Great composition and keyboard flick pattern so far.
The 2 key tune sur at 2.15 is of good cause.
In between the mukhda and 1st stanza, a feel good saxophone from 2.19 to 2.29, and keyboard tunes are nice.
From 2.40 to 2.51 , the musician quickly flicks through the keyboard to create an intense sound followed by lovely unplugged violin tune.
1st stanza
The additional beats from 3.00 to 3.01 give perfect kick start to the stanza.
Alka's line, HAAAAAAI (desperation feel twist) at 3.07
The quick synthetic keyboard rising flick from 3.08 to 3.09 is mesmerizing.
The synthetic keyboard descending flick from 3.28 to 3.30 is genius.
At 3.30, the line KYUN-UU(down)-UU(down)-UU(down) is great.
Between 1st and 2nd stanza, lovely piano and saxophone piece play along with faint soothing chorus followed by an emotional feel heart warming classical sitar piece from 4.15 to 4.25 that brings thehrav to proceedings.
2nd stanza
Sonu is an excellent choice for this song as he sings with soothing feel vocals.
The beat effect from 4.31 to 4.32 give perfect kick start to the stanza.
The quick rising piano flick from 4.40 to 4.41 gives haunt feel.
The subtle groovy 3 key tune sur at 5.22 (normal note) and 5.24 (higher note) is effective.
From 5.36 to 5.54, all vocals make solid impact with the core mukhda lines along with classical sitar piece.
The passionate violin piece finishes off the song.
Highlights of this song:
1. The underlying rhythmic laidback beats.
2. Alka's melodious vocals, Sonu's sooth feel vocals and soothing female background chorus.
3. The passionate violin piece, classical sitar piece, female chorus and subtle groovy tune in 2nd stanza.
4. The beat effect before stanzas and feel good saxophone in between stanza gaps.
5. All likeable piano tune sur in stanzas wherever mentioned and intense keyboard flicks between stanza gaps.
The COMPOSITION PATTERN (rising) and KEYBOARD FLICK PATTERN (rising and descending) is the best part as Himesh shows another versatile side of him in this HAUNT FEEL MELODY.
O Mere Humsafar
The song starts off with TERRIFIC raga theme piece and underlying profound classical tabla beats.
The faint female chorus joins in from 0.19 onwards.
Sonu sings the mukhda lines with soothing feel vocals.
The jingle tune sur key/s at 0.54, 0.57, 1.06 to 1.07, 1.09, 1.25 to 1.26 & 1.28 to 1.29 are catchy.
The guitar flick from 1.02 to 1.04 is of great cause.
The trumpet tune sur from 1.16 to 1.19 adds to the feel factor.
From 1.33 to 1.44, Jayesh's high-pitched croons along with Sonu's vocals enhance the desperation feel.
The soothing female chorus kick in from 1.37 to 1.45
Between mukhda & 1st stanza, the terrific raga theme piece along with profound classical tabla beats return.
1st stanza
The feel good string tune (with an inherent twist) that plays from 2.02 to 2.04 & 2.12 to 2.14 was one of typical pre-ABA HR instruments.
The female chorus from 2.16 to 2.25 gives an overall melodious soothing effect.
The jingle tune sur keys from 2.25 to 2.26 & 2.28 to 2.29 are catchy.
Between 1st & 2nd stanza, the terrific raga theme piece along with profound classical tabla beats return, followed by Jayesh's high-pitched desperation plea croons depicting tadap and ehsaas. The quick descending keyboard flick from 3.01 to 3.02 was used many a times in pre-ABA songs.
2nd stanza
The feel good string tune (with an inherent twist) that plays from 3.22 to 3.23 & 3.31 to 3.33 was one of typical pre-ABA HR instruments.
The female chorus from 3.35 to 3.44 gives an overall melodious soothing effect.
The jingle tune sur keys from 3.45 to 3.46 & 3.47 to 3.48 are catchy.
The trumpet tune sur from 3.54 to 3.58 adds to the feel factor.
The song ends with the terrific raga theme piece along with profound classical tabla beats.
Highlights of this song:
1. Sonu's soothing feel vocals.
2. Terrific raga theme piece along with profound classical tabla beats used intermittently throughout.
3. The catchy jingle tune sur keys, trumpet tune sur to enhance the feel factor and household string based instrument with an inherent twist.
4. Soothing female background chorus,especially the UUUUU effect in both stanzas.
5. Jayesh's high-pitched desperation plea croons depicting tadap and ehsaas.
Bheegi Bheegi
The song begins with church bell sound followed by trumpet tune and jingle effect, cycle bell rings, naughty feel good whistle from 0.12 onwards and joined in by techno sound from 0.17 onwards.
Suzanne D Mello's seductive feel vocals from 0.37 to 0.45 are great build up.
The fast drum-roll beats from 0.46 to 0.47, 1.57 to 1.58, 2.22 to 2.23 & 6.00 to 6.01
The harmonica theme piece plays from 0.47 onwards and joined in by female croons from 0.57 onwards.
Alka's high-pitched mukhda lines from 1.07 to 1.16 are super melodious along with awesome continuous rising haunt feel tune sur.
Alka's lines WOH HAI, SAB SE, PYARA from 1.17 to 1.20 have TYPICAL UNIQUE HR MELODY TWIST.
The synthetic instrument effect along with bazz sound in unplugged mode from 1.21 to 1.23, 3.31 to 3.34 & 5.23 to 5.26 is of great cause.
The finger snaps from 1.24 to 1.28, 3.35 to 3.39 & 5.27 to 5.30 enhance the build up effect.
The female chorus from 1.29 to 1.32 enhances the seductive feel.
The dhol hits from 1.32 to 1.33 give sahi desired effect.
The tune sur with a retro feel from 1.44 to 1.48, 2.09 to 2.12, 3.55 to 3.59 & 5.47 to 5.50 is quite effective.
An awesome groovy tune plays from 1.59 to 2.08, 3.45 to 3.55 & 5.37 to 5.46
Alka's line, TERI YAAD (profound classical twist) at 1.49, 2.14, 4.00 & 5.51 is similar to the line TERI YAAD (classical feel twist) from 2.10 to 2.11 & 2.19 to 2.20
The heavy beat hits in unplugged mode from 1.50 to 1.51, 4.01 to 4.02 & 5.52 to 5.53 gives sahi desired effect.
Between mukhda & 1st stanza, the classical styled male croons along with bazz trumpet in SYNC give an awesome overall effect, followed by melodious feel good female croons along with harmonica theme piece.
1st stanza
The dhol beat effect from 2.52 to 2.53, 3.06 to 3.07 & 3.44 to 3.45, give sahi desired effect.
The seductive feel female vocals followed by naughtily cheeky female sigh from 3.03 to 3.06 & 3.40 to 3.44
The tune sur from 3.17 to 3.18 is majestic awesome and is the key in Alka's stanza lines.
Alka's high-pitched mukhda lines from 3.18 to 3.27 are super melodious along with awesome continuous rising tune sur, with emphasis from 2.17 to 2.18 (splendid).
Alka's lines TUJH PE, DIL HAI, HAARA from 3.28 to 3.31 have TYPICAL UNIQUE HR MELODY TWIST.
Between 1st & 2nd stanza, a groovy techno bazz sound plays along with an passionate intense violin piece, followed by melodious feel good female croons along with harmonica theme piece.
2nd stanza
The dhol beat effect from 4.43 to 4.44, 4.58 to 4.59 & 5.35 to 5.36 give sahi desired effect.
The seductive feel female vocals followed by naughtily cheeky female sigh from 4.54 to 4.57 & 5.32 to 5.36
The tune sur from 5.08 to 5.09 is majestic awesome and is the key in Alka's stanza lines.
Alka's high-pitched mukhda lines from 5.10 to 5.19 are super melodious along with awesome continuous rising tune sur especially from 5.08 to 5.09 (splendid), with emphasis on TERE (desperation emphasis) from 5.17 to 5.18
Alka's lines TUJH PE, DIL YEH, VAARA from 5.19 to 5.22 have TYPICAL UNIQUE HR MELODY TWIST.
The soothing female chorus kick in from 6.01 onwards along with Jayesh's prolonged desperation plea soulful alaap that strikes a chord to finish off the song.
Highlights of this song:
1. Alka's super melodious high-pitched vocals.
2. The combo of male classical croons and bazz trumpet in sync between mukhda & 1st stanza.
3. The feel good female chorus, especially soothing melodious right at the end along with Jayesh's prolonged desperation plea alaaps.
4. The seductive female croons followed by cheekily naughty female sigh.
5. The fast drum-roll beat effect, the harmonica theme piece, the dhol beat effect, the awesome groovy tune, the retro feel tune sur, heavy beat hits, finger snaps for build up, synthetic instrument effect along with bazz sound and awesome continuous rising / majestic tune sur in stanzas.
The sound engineering of this song in terms of orchestration / instruments is very well thought of.
My Picks
1. Hum Tumse Dil.
2. Dhadkan Ho Gayee.
3. Ae Dil Yeh Bata, O Mere Humsafar & Ishq Tezab (tie).
4. Bheegi Bheegi.