Music review analysis of Himesh Reshammiya's album Humraaz (2002).
Dil Ne Kar Liya
The song starts with haunting piano piece followed by passionate violin piece.
The piano piece along with unplugged beats is great from 0.51 onwards.
Udit's lines from 0.56 to 1.07 are with subtle feel and suddenly from 1.08 to 1.13, 1.30 to 1.33, 1.51 to 1.53 they pick up tremendously, with the key being the beats hitting at right sync with the lines, followed by subtle DEEWANA croons.
The keyboard tune sur between 1.26 and 1.30, 1.46 to 1.50 enhance the lines.
Alka's lines DIL NE KARLIYA at 1.39 to 1.40, HUM KO at 1.42 to 1.43 have striking melody
Between mukhda and 1st stanza, Alka's lines are haunting especially from 2.01 to 2.04, followed by passionate violin piece and soothing female chorus (the effect created by instruments and tune is ecstatic). The piano piece that follows is likeable.
1st stanza
The beat effect from 2.52 to 2.53 is great.
The soothing female chorus really enhances Udit's lines.
Udit's line AAYE at 3.04 is well sung.
The piano pattern from 3.08 to 3.10 is likeable
Alka's lines from 3.25 to 3.30 are sung with great feel.
Between 1st and 2nd stanza, the soothing female chorus croon in unplugged mode followed by a TERRIFIC oriental flute piece. The bazz trumpet kicks in followed by Alka's melodious lines with emphasis on PARDESIIIIIII (prolonged) from 3.56 to 3.59, 4.02 to 4.04 with awesome sound effect at 3.58, 4.03. The rising keyboard flick pattern is great.
2nd stanza
The beat effect from 4.12 to 4.13 is great.
The soothing female chorus really enhances Alka's lines.
Alka's line AARMAN at 4.18 is melodious.
The piano pattern from 4.28 to 4.30 is likeable.
Alka's lines from 3.25 to 3.30 are sung with great feel.
The soothing female chorus finishes off the song.
Highlights of this song:
Alka's melodious vocals, Udit's soothing feel vocals and the soothing female chorus.
The piano flick patterns, the beat effect at stanza start, bass trumpet, violin piece, terrific oriental flute piece and of course the underlying beats.
Tune Zindagi Mein Aake
The song build up begins with a lovely piano piece.
The synthetic piano tune followed by 3 keys of bazz trumpet (very effective with great impact) is the theme piece and it plays regularly throughout with a repetitive pattern.
The underlying laidback beats were similarly used in ZINDAGI YEH DILLAGI from KYA DIL NE KAHAA.
Alka's lines...tuNEZINdagi is melodious with emphasis on capital letters.
The bazz trumpet from 0.56 to 0.57 and from 1.13 to 1.14 gives great impact.
The beat skip from 1.00 to 1.01 is 1.17 to 1.18 gives sahi desired effect.
Alka's lines....zindagi HOOOOOO is with soothing feel.
Between mukhda & 1st stanza, the soothing female chorus casts its spell followed by likeable string-based instrument.
1st stanza.
The critical importance of the bazz trumpet (with 4 echo-effect) at 2.03, 2.16, 2.19.
Emphasis (striking melody) on Alka's lines...bhul KAAAR (2.11), tumhaREE(2.14), milGAYEEE(2.28)
The rest of lines speak for themselves.
The soothing female chorus kicks in from 2.39 to 2.41
Between 1st & 2nd stanza, a lovely harmonica tune followed by a tune in dil ne kar liya tune plays.
2nd stanza.
The critical importance of the bazz trumpet (with 4 echo-effect) at 3.43, 3.57, 4.00.
Emphasis (striking melody) on Alka's lines...jaaneJAAA(3.52), AAANE(4.09)
The rest of lines speak for themselves.
The soothing female chorus kicks in from 2.39 to 2.41
The soothing female vocals UUUU give company to alka in the end to with great overall effect.
The song finishes in unplugged mode with the bazz trumpet (echo effect) that makes a statement.
Highlights of this song:
1. Alka's melodious (striking) vocals, laidback underlying beat plus the beat skip, soothing female chorus.
2. The synthetic piano that is theme piece followed by bazz trumpet (which is also used as tune sur at continuous intervals) that gives just a little bit of sike.
This is a CLASS song.
Pyaar Kar
The song begins with a guitar piece after which the soothing vocals of Sanu arrive...
...0.48...the tune builds up sike...note the female chorus croon...pyar kar...ikrar kar...izhaar kar...inkar kar...great...
...1.24...1.52...2 additional beats followed by 2 beats followed by 2 beats...behind lines...tujhe aapna dil dene ka hai maza...great build up...
...1.56 to 1.59...this tune piece is the theme tune of the song...
...at 2.32 to 2.36...the bazz trumpet gives great effect...
...2.40 to 2.43...the theme tune is wicked style and it is awesome...
1st stanza...dilo jaan se pyaara...female chorus UUU UUU...great tune sur at 2.50 to 2.52...
...2.54...great instrument effect...
...female chorus behind 3.02 to 3.15...
...kavitha does a fine job...
...from 4.10 to 4.14...great engish female vocals...
...4.22 onwards shaan does a great job with HE HE LA LA LA...
...4.34 to 4.37...the theme tune is wicked style and it is awesome...
1st stanza...MUJHE PYAR HUA HAI...female chorus UUU UUU...great tune sur at 4.44 to 4.46...
...4.48...great instrument effect...
...female chorus behind 4.57 to 5.10...
...kavitha does a fine job...
...in the end...the female chorus give good effect followed by the unplugged theme piece tune that is groovy that ends the song...
Highlights of this song:
1. The theme tune piece 1.56 to 1.59 that holds the song together.
2. Female chorus/english vocals wherever mentioned.
3. 2 additional beats followed by 2 beats followed by 2 beats...behind lines...tujhe aapna dil dene ka hai maza
4. Bazz trumpet used between mukhda and 1st stanza.
Bardaasht Nahi
KK's croons AAE AAA AAO in unplugged mode are in essence the catchy repetitive hook in this peppy song.
From 0.24 onwards, the song takes an INTERNATIONAL FEEL approach with the African dancers type croons and wicked cunning male chants of SAY OOH LA LA.
Himesh has actually created this international feel effect at the beginning as a build up part in most of his pre-ABA item numbers.
The underlying free flowing rhythmic beats that are perfectly apt for such a stage song kick in from 0.33 onwards.
A feel good funky guitar plays in between 0.37 & 0.55
Emphasis on KK's line, AAAAA (catchy quick up down twist) at 1.03, 1.31 & 1.54, AAAEEEAAAOOO - OOOO (twist) from 1.05 to 1.06, 1.29 to 1.30 & 1.53 to 1.54
The off-da-hook profound fast drum-roll beats from 1.12 to 1.13 gives great kick start to KK's mukhda lines.
KK's lines, BARDAASHT & AAB DUR are sung with zeal and vigor.
KK's line, TERE (catchy) BINNNNNN (prolonged) NNNN (twist) from 1.23 to 1.25 & 1.47 to 1.49
The funky guitar at 1.15 to 1.17, 1.22 to 1.23, 1.39 to 1.41 & 1.46 to 1.47 gives great completeness effect to KK's line EK DIN.
KK's prolonged croon, OOOOOOOO (abruptly left dying echo effect) from 1.58 to 2.00 is followed by quick beat effect at 2.00 that was used at same spot from 2.06 to 2.07 in SANAM MERE HUMRAAZ from HUMRAAZ.
Between mukhda & 1st stanza, the feel good grade trumpet plays from 2.01 to 2.09 followed by energetic soothing female chorus followed by grand bazz trumpet from 2.18 to 2.26 and joined in by Sunithi's feel good theme piece croons.
1st stanza
The 2 raw drum hits at 2.32 give the sahi desired effect and are a perfect kickstart to the stanza.
KK's line, YEEEEE (quick up down twist) at 2.34, 2.38 & 2.43 enhances the feel good factor.
Sunithi's feel good lines along with the 2 key (higher note, lower note) tune sur at 2.50, 2.52, 2.54 & 2.56 gives an overall catchy effect.
KK's line, JAYE KAHAAN * 3 follows a fixed formula of catchy repetitive hook.
The quick beat effect at 3.02 and off-da-hook profound fast drum-roll beats at 3.04 give sahi desired effect.
Sunithi's feel good theme piece croons, AAE AAA AAO are also penetratingly catchy.
Between 1st & 2nd stanza, the international feel element comprised of African chants return with an interestingly innovative EAST-WEST combo mix of classical female and male chorus croons along with funky guitar. The continuously roller coaster fluctuating keyboard flick from 4.03 to 4.12 is of great cause.
2nd stanza
The 2 raw drum hits at 4.13 give the sahi desired effect and are a perfect kickstart to the stanza.
KK's lines JHOOO (quick up down twist) at 4.16, 4.20 & 4.24 enhances the feel good factor.
Sunithi's feel good lines along with the 2 key (higher note, lower note) tune sur at 4.31, 4.33, 4.35 & 4.37 gives overall catchy effect.
KK's line, YEH DOORIYAAN * 3 follow a fixed formula of catchy repetitive hook.
The quick beat effect at 4.43 and off-da-hook profound fast drum-roll beats at 4.45 give sahi desired effect.
Sunithi's feel good theme piece croons, AAE AAA AAO are also penetratingly catchy.
The song ends with energitic BARSAASHT croons along with the catchy hook AAE AAA AAO.
Highlights of this song:
1. The perfect combo of KK's and Sunithi's feel good vocals that are vintage made for such a stage performance number.
2. The underlying free flowing rhythmic beats.
3. Off-da-hook profound fast drum-roll beats, funky guitar, feel good grand bazz trumpet, quick beat effect used intermittently throughout the song, 2 raw drum hits in beginning of stanzas and 2 key tune sur in stanzas to give overall catchy effect
4. The energetic soothing female chorus, da combo of African-ish male chants followed by cunning wicked male croons to give the international feel effect at start and in between 2nd stanza gap.
5. The combo of catchy repetitive hooks with prolonged and quick twists-n-turns (that Himesh uses in his sufi-rock high pitched singing today).
Sanam Mere Humraaz
The song begins with Alka's melodious vocals in unplugged mode, with an underlying sound from 0.07 to 0.10 that is representative of a train making a halt at a railway station platform.
The loud female whispers HUMRAAZ at 0.17 & 0.25 have a mysterious haunt groove that does justice to da backdrop of project i.e. suspense thriller genre.
The groovy bazz tune from 0.27 to 0.31 which is joined in by catchy synthetic tune from 0.32 to 0.38 along with semi-plugged beat build up da song.
The main underlying beats with a pattern that gives halke se kick have similarity to underlying beats of JAANAM TERE LIYE from KURUKSHETRA and AMAR PREM TITLE TRAX join in from 0.39 onwards along with another synthetic tune until 0.46
Sanu's feel good alaap from 0.46 to 0.56 further enhances da build up process.
Da OFF-DA-HOOK theme piece plays from 0.57 to 1.06 which is comprised of well structured quick catchy guitar riffs.
The quick raw drum beat effect at 1.05, 1.42 & 2.06 was also similarly used at 1.11 in MOHABBAT HAI MIRCHI, at 2.01 in CHURA LIYA HAI TUMNE TITLE TRAX, at 2.33 in HUMKO CHAHIYE from ISHQ HAI TUMSE and at 2.26 SARZAMEEN SE from ZAMEEN.
The quick bazz trumpet tune sur at 1.17 and female haunt feel chorus from 1.26 to 1.31 are of great cause.
Da tune of Sanu's and Alka's lines SANAM MERE HUMR-AAAAAZ (prolonged) from 1.31 to 1.40 & 1.55 to 2.06 is similar to Sanu's lines AMAR PREM MERA (prolonged) * 2 from 1.17 to 1.27 in AMAR PREM TITLE TRAX (SERIAL).
Da loud female whispers HUMRAAZ at 1.34, 1.41, 1.59 & 2.05 enhances the haunt feel.
The tune sur keys from 1.52 to 1.55 are of great cause.
Between mukhda & 1st stanza, da loud male chorus make their presence felt from 2.07 to 2.19 along with intermittent feel good guitar riffs, followed by loud female haunt feel chorus from 2.19 to 2.33 followed by a prolonged quick synthetic piece from 2.34 to 2.50
1st stanza
The tune of Alka's lines from 2.50 to 3.11 is simple yet effective.
The intermittent quick catchy guitar riffs (theme piece) from 2.58 to 3.02 & 3.11 to 3.14 give great intermittent effect.
Alka's line, DAGA DE (desperation emphasis) from 2.56 to 2.57
The bazz trumpet tune sur at 3.18 and the quick rising / descending keyboard flick that gives haunt feel urgency from 3.25 to 3.27 is of great cause.
Between 1st & 2nd stanza, a groovy flute piece plays from 3.40 to 3.47 followed by da combo of grand feel good and bazz trumpet from 3.27 to 3.59 followed by a wicked oriental flute from 3.59 to 4.00 and OFF-DA-HOOK quick catchy guitar riffs (theme piece) in unplugged mode from 4.00 to 4.04
2nd stanza
The tune of Sanu's lines from 4.04 to 4.24 is simple yet effective.
The intermittent quick catchy guitar riffs (theme piece) from 4.12 to 4.16 & 4.25 to 4.28 give great intermittent effect.
The continuous gradually rising tune sur from 4.19 to 4.24 and groovy sound from 4.32 to 4.34 enhances da mysterious haunt effect.
The key flicks from 4.37 to 4.41 and quick rising / descending keyboard flick that give haunt feel urgency from 5.03 to 5.05 are of great cause.
The song ends with Alka's prolonged melodious line HUMR-AAAAAZ.
Highlights of this song:
1. Alka's melodious vocals and Sanu's subtle feel vocals.
2. Underlying rhythmic beat that has a halke se feel beat pattern.
3. The groovy bazz tune and catchy synthetic tune at start, quick raw drum beat effect, well structured quick catchy guitar riffs (theme piece), feel good guitar riffs and prolonged quick synthetic piece (in 1st stanza gap), bazz trumpet tune sur (in 1st stanza), groovy flute piece, da combo of grand feel good and bazz trumpet and wicked oriental flute (in 2nd stanza gap), continuous gradually rising tune sur and groovy sound (in 2nd stanza) and quick rising / descending keyboard flick (in both stanzas).
4. The loud impactful male / female haunt feel chorus (in between 1st stanza gap) and loud intermittent female whispers HUMRAAZ.
This song's overall arrangement in terms of execution of da build up structure process from beginning to 0.39 has resemblance in comparison to JAANAM TERE LIYE from KURUKSHETRA in terms of Alka's starting haunt feel croons until 0.18 and the techno whoosh sound from 0.21 to 0.26 in unplugged mode followed by da well structured theme piece from 0.27 to 0.34 and joined in by da main underlying rhythmic beat with halke se feel pattern from 0.35 onwards (incidentally both these songs were also sung by Alka-Sanu jodi).
Life Ban Jayegi
The starting peppy Punjabi element beats are great followed by a techno sound from 0.08 to 0.12.
The underlying beats kick in followed by feel good female chorus HOO.
The sound from 0.24 to 0.27 is awesome.
The feel good string instruments kicks in followed by chorus and energetic male vocals HAAI
The unplugged effect from 0.44 to 0.49 is great build up.
Emphasis on Sonu's line SET (very well sung) at 1.12, 1.14, 1.36, 1.38
The drum plus vocal effect from 1.17 to 1.19, 1.42 to 1.43 followed by energetic HEEE YA from 1.21 to 1.22, 1.45 to 1.46 enhances the cheeky nature.
Between mukhda and 1st stanza, a traditional 'rajasthani' tune plays which is an interesting choice with Punjabi dhol beat, lyrics and instrument.
1st stanza
The feel goods bindaas lyrics will bring smile on listeners face.
Sonu's line KOIIII (twist) at 2.18
The lines ALL TIME HOGA DHAMAAL and PUPPYYAAN JHAPPIYAAN KA MAUSAM BEMISAAL HOGA...ya ya ya, ok ok, fine...these lines are totally cool and super hit with me.
The quick keyboard flick from 2.34 to 2.35, 2.37, 2.44 to 2.45 is very cute.
Between 1st and 2nd stanza, raw drum beat hits followed by feel good tune and key board flick at 3.19
2nd stanza
Once again fantastic feel naughty lyrics.
Sonu's lines from 3.24 to , with emphasis on CHAAL (amazing halke se feel) at 3.28, HAAAI (amazing feel twist) at 3.30, GHUNG-TAA (abrupt leave) at 3.44
The quick keyboard flick from 3.46 to 3.47, 3.49, 3.55 to 3.57 is very cute.
Between 2nd and 3rd stanza, kawali styled male croons along with great female croons AAA AAA AAA (normal, 2 notes up, 2 notes up).
3rd stanza
First things first, HR TAKE A BOW for choosing Jaspinder Narula who is tailor made for this song and also for the DADI part.
The penetrating feel with which she sings is commendable.
Her line PUTTAR at 4.46 makes me laugh especially in context of whole line...VARI VARI JAAUN PUTTAR TERI IS JAWANI PE...lolz
The great thing with lyics UNKA NAAM ROSHAN KARKA VANSH KO BADHANA is that the Dadi (who is actually supposed to be conservative is actually cheering on her grand son openly)
Her line MANAANA (feel good twist) at 5.03
Sonu's line DADI YEH BAAT ME DUM HAI, after all, which duffer will say no to such encouragement from ultimate senior authority in the house?
By the way, who wears trousers in the house? Lolz.
The quick keyboard flick from 5.05, 5.08, 5.15 to 5.16 is very cute.
The male chorus is effective in the end.
Highlights of this song:
1. Hats off and Kudos to the lyricist that created the perfect atmosphere for the song setting.
2. Sonu's feel good vocals and Jaspinder's (terrific selection) feel good penetrating vocals.
3. The Punjabi beats, peppy instrument, the drum plus vocal effect and energetic HEY YAA that gives kick, techno sound, the cute keyboard flick tune sur in stanza and interesting choice of folk instrument with Punjabi mix.
4. The soothing female chorus and male croons.
If the listener is totally after a good time, then play this song!
Theme Music
The theme piece begins with an intense violin piece from start to 0.14
A feel good tune plays along with subtle laidback beats from 0.15 to 0.27
The chime effect from 0.25 to 0.27 & 0.39 to 0.41 is great.
The soothing female chorus kicks in from 0.28 to 0.52
The likeable piano piece along with emotional feel violin piece from 0.58 to 1.10 & 1.24 to 1.30
A feel good string based tune plays from 1.11 to 1.20 & 2.03 to 2.12
A catchy tune piece plays from 1.31 to 1.42
The subtle drum hits from 1.45 to 1.46 are great.
The intense violin piece followed by female chorus from 1.43 to 2.02 conveys the emotional feel.
The soothing female chorus from 2.12 until end.
My Picks
1. Sanam Mere Humraaz, Bardaasht Nahi Kar Sakta, Tune Zindagi Mein Aake & Dil Ne Kar Liya (tie).
Sanam Mere Humraaz
The groovy mysterious bazz sound from 0.27 to 0.31 joined in by catchy synthetic techno tune in semi plugged mode from 0.30 to 0.38 builds up the song tremendously. The well structured guitar riffs theme piece from 0.57 to 1.05 is used intermittently throughout. BEST INSTRUMENTAL is OFF-DA-HOOK catchy guitar riffs in unplugged mode from 4.00 to 4.03 in between 1st & 2nd stanza.
The
Bardaasht Nahi Kar Sakta
The song builds up on a grand scale with an international African-ish feel from 0.24 to 0.32 joined in by the underlying rhythmic beats. BEST MELODY is KK's and Sunithi's lines AE AA OO (catchy repetitive croons) in the mulkda. The catchy funky guitar from 1.15 to 1.17, 1.22 to 1.23 and so on gives great intermittent effect.
2. Pyar Kar
3. Life Ban Jayegi
Full on masti dhamaal song with Punjabi flavored elements that uplifts n brightens the listeners mood. Peppy punjabi element theme piece at start is joined in by a techno tune from 0.09 to 0.12, Off-da-hook quick tune flick at 2.34, 2.37, 3.46, 3.49, 5.05 & 5.08, Male quawali vocals from 4.15 to 4.33, followed by soothing female chorus from 4.34 to 4.38 in between 2nd stanza gap.
Himesh talks about Humraaz's music
Please don't click on the 'dim lights' icon.
Himesh and Kumar Sanu sing Sanam Mere Humraaz, from1.39 to 2.19