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Tu Hi Rab

The song begins with a pleasantly likeable piano piece in unplugged mode, and is joined in by laidback guitar riffs from 0.10 onwards and catchy passionate violin piece from 0.23 to 0.44 which builds up the song.

The underlying repetitive dholak skip pattern that gives kick from 0.46 onwards is a similar version of the one used from 1.39 onwards in TERE NAAM TITLE TRAX, from 1.23 onwards in KABHI NA SUKUN AAYA from KOI AAP SA, from 0.41 onwards in MERI NAS NAS MEIN from DIL NE JISE APNA KAHAA, from 0.52 onwards in MAINE CHUN LIYA from DIL MAANGE MORE and it gives a constant reverse kick to da listeners.

The mukhda is incredibly catchy like hell and comes from the top musical drawer of Himesh - the pre ABA composer.

As the listeners are just setting themselves into the song's melodious groove and even before they realize, Rahat arrives and just rwaks it with his vocals and hits a sixer with his mukhda lines from 0.57 onwards that further build up the song tremendously.

Rahat’s lines, TERA CHEHRA (typical unique HR melody) AAAAAAAA (terrific prolonged) from 0.59 to 1.00, 1.05 to 1.06, 1.10 to 1.12 & 1.16 to 1.17 along with killer soulful desperation plea croon TERA CHEHRA (dil ki pukar that konnekts with da listener) from 1.01 to 1.02, 1.06 to 1.08, 1.12 to 1.13 & 1.17 to 1.19 whereby he pours his heart out.

Rahat’s lines, DEEWAAR PE (HISTORY desperation plea vocals that bowls over da listener) from 1.04 to 1.05, 1.15 to 1.16 & 2.02 to 2.03

Rahat’s line, PE TERA (HISTORY razor sharp vocals which give striking melody, chubban ka ehsaas) from 1.04 to 1.05, 1.15 to 1.16 & 2.03 to 2.04 strike a chord big time.

Rahat’s lines, TU HI HAI TU HI MERA JAHAAN (off-da-hook quick rising vocals with catchy echo effect) from 1.19 to 1.21 followed by start-stop gap catches da listeners pulse.

Rahat sings the core mukhda lines TU HI RAB TU HI DUA, TU HI LAB TU HI ZUBAAN, TU HI RAAH TU HI MUQAAM comprised of catchy repetitive hooks with a ‘straight’ singing style without any twists-n-turns, followed by TU REHNUMAAN which gives the ‘completeness effect’ to the overall melody structure.

Himesh asks Tulsi to sing in high pitch range to provide that melody impact, with emphasis on her lines DUA (fulltu high pitch melody) SAFAAN (fulltu high pitch melody) TU MUQAAM (off-da-hook abrupt melodious haunt feel twist) from 1.51 to 1.52 & 2.27 to 2.28

Tulsi’s line, RAB (majestic cute innocent vocals, as if she has had sweet flour or honey/meetha shehad) at 1.44 & 2.21, TU REHNUMA-AAAAAN (awesome prolonged feel good melodious twist) from 1.52 to 1.55 & 2.29 to 2.32

Her USP is her melodious haunt feel vocals with underlying depth / goonj at high pitch and they sound innocently cute as if she has just had sweet flour / meetha shehad before singing.

Between mukhda & 1st stanza, the pleasant likeable piano piece from 2.31 onwards is joined in by the passionate violin piece from 2.43 to 2.52

1st stanza

The composition pattern of Rahat’s lines has well structured graph i.e. his lines TERE BINA TOH (normal note) from 2.56 to 2.57 & 3.07 to 3.08, HAAL HAI AISA (higher note) from 2.58 to 3.00 & 3.10 to 3.11, CHAAND ADHOORA (back to normal note) from 3.04 to 3.05, 3.15 to 3.17, ROOH MEIN SHAAMIL (normal note) from 3.18 to 3.20 & 3.29 to 3.31, TU HO JAAYE (higher note) from 3.21 to 3.22 & 3.22 to 3.33, SAATH YEH POORA (back to normal note) from 3.26 to 3.28 & 3.37 to 3.39

The vocal mixing of Rahat’s vocals is great i.e. his lines from 2.55 to 3.06 & 3.16 to 3.39 are sung in the backdrop, and they come to the forefront from 3.07 to 3.17

Himesh asks Rahat to go the ‘shayariana’ way with his laidback vocals from 2.55 to 3.06 & 3.16 to 3.39 that are representative of the singing style of ghazal maestro Panjak Udhas with thehraav.

Himesh – the composer goes the ‘bandish’ way in Rahat’s line, BINA TOH HAAL HAI (classical desperation plea emphasis twist) from 3.07 to 3.09 along with trademark fast paced tabla pattern used countless times in pre ABA era, and this instrumental/vocal combo in sync gives kick and catches the classical pulse of da listener.

Rahat's line, CHAAND ADHOORA (desperation feel vocals) from 3.14 to 3.16 win over the listener.

Tulsi’s melodious halke se feel vocals from 3.40 to 3.53 in semi plugged mode make the proceedings nostalgic.

Rahat’s line, CHEHRA-AAAAAA (terrific prolonged vocals) from 3.57 to 3.59 & 4.03 to 4.05

Between 1st & 2nd stanza, the passionate violin piece is back from 4.30 to 4.52

2nd stanza

The composition pattern of Rahat’s lines has well structured graph i.e. his lines APNE DIL MEIN (normal note) from 4.53 to 4.54 & 5.04 to 5.05, JHAANKH KE DEKHO (higher note) from 4.56 to 4.57 & 5.07 to 5.08, PYAAR HAMARA (back to normal note) from 5.01 to 5.03 & 5.12 to 5.14, AALAM NA PUCHO (normal note) from 5.15 to 5.17 & 5.26 to 5.28, TADAP KA (higher note) from 5.18 to 5.19 & 5.30 to 5.31, TUM BIN GUZAARA (back to normal note) from 5.23 to 5.25 & 5.35 to 5.37

The vocal mixing of Rahat’s vocals is great i.e. his lines from are sung from 4.52 to 5.02 & 5.14 to 5.37 are sung in the backdrop, and they come to the forefront from 5.03 to 5.14

Himesh asks Rahat to go the ‘shayariana’ way with his laidback vocals from 4.52 to 5.02 & 5.14 to 5.37 that are representative of the singing style of ghazal maestro Panjak Udhas with thehraav.

Himesh – the composer goes the ‘bandish’ way in Rahat’s line, JHAANKH (classical desperation plea emphasis twist) from 5.04 to 5.07 along with trademark fast paced tabla pattern used countless times in pre ABA era, and this instrumental/vocal combo in sync gives kick and catches the classical pulse of da listener.

Rahat's line, PYAAR HAMAARA (desperation feel vocals) from 5.11 to 5.14 win over the listener.

Rahat’s line, MEEE (terrific classical desperation plea twist) RI at 5.17

Tulsi’s melodious halke se feel vocals from 5.37 to 5.50 in semi plugged mode make the proceedings nostalgic.

Rahat’s line, CHEHRA-AAAAAA (terrific prolonged vocals) from 5.54 to 5.56 & 6.00 to 6.02

Highlights of this song:

1. Rahat’s striking melody impact vocals and Tulsi’s melodious haunt feel vocals with vocal depth.

2. The underlying profound dholak skips and pre ABA styled fast paced tabla beats at start of stanzas.

3. The tremendous starting buildup comprised of pleasantly likeable piano flicks, subtle gentle guitar riffs and passionate violin piece.

It is a very well structured, simple yet catchy composition that comes across as a pleasantly hummable tune. It is a classy affair with a universal appeal, whereby the damage control, repair and reversal in terms of his haters is in full progress courtesy also due to Rahat Fateh Ali Khan who rwaks it with his vocals. The song has a great repeat hear value appeal and in doing so it grows upon da listener.

Tu Hi Rab - Music Video Review

http://movzap.com/?nj7smz13ybxr.html

This song in the actual film gave melodious sensations, struck a chord and wins over the viewer, especially the lines MERE DIL KI HAR EK DEEWAAR PE from 9.18 to 9.23 when Karishma Kapoor looks at Rajneish Duggal and from 9.44 to 9.48 when she is hugging him, and Rahat's stanza lines with fast paced tabla hits, TERE BINA TOH HAAL HAI AISA from 10.49 to 10.55 when the camera zooms in. The treatment given to this song in the film was different i.e. there were no dance step sequences but the song was interwoven into talkie portions with a dark shade in terms of backdrop.

Naina Re

This song has a sad undertone to it and its graph keeps on growing as it progresses.

The song begins with a likeable piano piece in unplugged mode followed by Shreya’s feel vocals.

The male mukhda lines have trademark compositional style of Himesh – the Sufi Rwak composer comprising of prolonged twists-n-turns.  

The mukhda lines have well structured ascending / descending structure just like an inverted U i.e. Himesh’s lines, NAINA RE-EEE-EEE (quick profound rising emphasis twist with a powerful throw) from 0.28 to 0.29 & 0.53 to 0.55 that was similar to his line KAJR-AAAA (quick profound rising emphasis twist) from 1.13 to 1.14 & 1.16 to 1.17 in KAJRAARE TITLE TRAX, REEEEEEEE (prolonged high pitched) from 0.29 to 0.30 & 0.54 to 0.55, EE-EE-EE (profound 3 step descending emphasis twist with terrific KASHISH in his vocals) from 0.30 to 0.32 & 0.56 to 0.58

Himesh’s line, BURA-AAA (quick abrupt up twist) from was similarly used in Udit’s lineYAAR-RRR (quick abrupt up twist) from 2.28 to 2.29, Shreya’s line NIKHAAR-RRR (quick abrupt up twist) from 4.20 to 4.21 in MAINE CHUN LIYA from DIL MAANGE MORE, and Alka's line HAAI-AAI (quick abrupt up twist) from 2.34 to 2.35 in SACHE AASHIQ from SHAADI SE PEHLE.

Himesh’s line, ROG LAGAAYE (terrific catchy descending feel twist) from 0.46 to 0.48

For a song that is inherently slow in tempo, the underlying rhythmic laidback beat that kicks in from 0.54 onwards is the instrumental USP as it provides a laidback foot tapping groove and enhances the free flowing nature of the composition tune / vocals.

The orchestration has an awesome constant synth rhythm in the background along with subtle piano flicks.  

Off-da-hook traditional beat skip / finger snaps from 1.17 to 1.22 & 2.14 to 2.18 is representative of the old age era.

Himesh’s line, RE-EEEEEEEE (terrific prolonged intense emphasis vocals have dard, tadap n ehsaas) from 1.18 to 1.22

Shreya’s catchy melodious vocals from 1.22 to 1.49 have an emotional konnekt, along with laidback rhythmic beat that kicks in again from 1.25 onwards and gets da listener into da zone.

Himesh plays one of his ace cards by taking his close working rapport n relationship with Rahat Saab one step further by co-singing along with him, and his allocation of portions are perfectly apt in terms of layout i.e. Himesh (male), Shreya (female), Rahat (male) which amalgamates to a nice overall mix.

Rahat’s line, RE-EE-EE-EE (terrific gradually descending desperation plea twist) from 1.53 to 1.55, along with laidback rhythmic beat that kicks in again from 1.56 onwards and gets da listener into da zone.

Between mukhda & 1st stanza, off-da-hook cult wicked quick bansuri skip effect from 2.19 to 2.24 is representative of the old age era gives a spooky feel of mysterious circumstances as if danger lurks around and a sense of urgency that needs to be undertaken.

1st stanza

Himesh goes inner soul searching in his well structured lines from 2.24 to 2.43 which are best part of song and konnekt big time with da listener.  

His lines, CHALKA (killer soulful croon, seene ke aar paar ho jata hai) from 2.27 to 2.28, ISHQ MEIN HAI (terrific passionate feel) from 2.35 to 2.37

His lines, DIL KA PEMAANA (melody impact) from 2.29 to 2.32, NA JAANA (melody impact) from 2.40 to 2.43 strike a chord.

The intermittent sad violin tune from 2.33 to 2.35, 2.43 to 2.45 & 3.02 to 3.05 adds further to the painful quotient.

Shreya pours her heart out in her desperation plea lines from 2.54 to 3.04 which have an emotional konnekt.

Himesh’s line, TU HI BURA TUJHSE SE BURA (off-da-hook singing) from 3.11 to 3.15

Between 1st & 2nd stanza, Rahat and Shreya belt out desperation plea croons on a complex high pitched alaap from 3.34 to which is representative of a quickly changing stock market graph, with emphasis on Rahat’s catchy croon from 3.46 to 3.48 and Shreya’s catchy croons from 3.53 to 3.57 in overall context of the alaap that signifies that the lovers are craving n longing to reunite. Off-da-hook finger snap effect plays in da background.

2nd stanza

The desperation plea quotient only increases from here on with Rahat’s desperation plea lines from 3.58 to 4.15 as if to depict the helpless and shattered state of lover.

The intermittent sad violin tune from 4.05 to 4.08, 4.15 to 4.18 & 4.36 to 4.38 adds further to the painful quotient

Shreya pours her heart out in her desperation plea lines from 4.18 to 4.36 which have an emotional konnekt and more impactful in depicting the heroine’s dilemma.

The subtle piano flicks from 4.26 to 4.28 are pleasantly likeable.

Shreya’s line, YAAAA (profound twist) from 4.32 to 4.33 was similar to Himesh’s line RAATEIN-NNN (profound twist) from 2.22 to 2.23 in TERA SUROOR in AAP KA SUROOR.

Himesh’s line, TU HI BURA TUJHSE SE (off-da-hook singing) from 4.44 to 4.47

Proceedings become intense from 5.07 onwards with Rahat’s high pitched alaap and desperation plea vocals on repetitive hook NAINA RE that depicts a sense of urgency, purpose and cause.

Shreya’s line, NAINA RE from 5.25 to end depicts the sense of reunion, jubilation and relief between the lovers who finally see each other.

Highlights of this song:

1. Himesh’s soulful vocals with kashish, tadap n ehsaas, Rahat’s desperation plea vocals and prolonged alaap and Shreya’s melodious innocent feel vocals whereby she pours her heart out.

2. Underlying rhythmic laidback beats that are instrumental USP of song as they provide that foot tapping groove in an otherwise slow paced song and off-da-hook finger snaps that are representative of the old age era.

3. Off-da-hook wicked cult quick bansuri skip effect between 1st stanza gap, painful violin piece in stanzas and pleasantly likeable piano flicks.

It is a pure soulful composition with an emotional konnekt which grows upon da listener upon each passing hears and thus it has a tremendous repeat hear value appeal and a long shelf life.

It is a path breaking composition by HR 2.0 / HRR, in the sense that one was ideally expecting a full on Sufi Rwak number to set da charts ablaze but this song achieves that same feat but via a contrasting route with pure classy composition tune and soulful rendering which konnekts big time.

There are bright chances that Himesh / Rahat n Shreya be nominated under and/or win the best male and female playback singer category in leading popular yearly awards.

Naina Re - Reprise

Naina Re original is better than the reprise only because it has an underlying laidback beat that provides a rhythmic groove. However, the reprise version has its own identity and is effective in its own way as it has more emotional konnekt than da original version as it has underlying off-da-hook subtle finger snap skip effect along with matka hits that further enhances the song’s gentle warm somber mood, feel and ambience. So if a listener is missing their loved one, they can lie in bed, just switch off da lights and play on this song to get lost n da aura / world of this song to feel da pain, desperation feel, tadap n ehsaas the songs conveys through.  Off-da-hook cult wicked bansuri effect is in full form in unplugged mode in between 1st stanza gap and painful violin piece makes its presence felt in da stanzas. The finger snap skip effect and matka hits are most effective behind Shreya’s lines from 1.25 to 1.32 as they catch da listeners pulse.

Hence, the key difference between Naina Re Original and Naina Re Reprise, is that the laidback rhythmic beat in original version is been replaced with off-da-hook repetitive finger snap skip effect along with matka (pot) hits in the reprise version.

Ishq Mein Ruswaa

Ustad Himesh Reshammiya is at da helm of affairs.

The song begins with a raga (sarangi) piece in unplugged mode until 0.21

The harmonium theme piece plays from 0.22 to 0.33 along with trademark pre ABA fast paced tabla beats from 0.23 to 0.25

The underlying quick repetitive heavy tabla hit pattern kicks in from 0.33 onwards gives semi-classical kick to da listener.  

Anwesha’s lines, IN GALIYON KO IN RAASTON KO HUM TOH TANHA CHOR CHAALE from 0.34 to 0.44 are sung with melodious innocent feel vocals, bhaut shiddat se gaaya hai.

Anwesha’s line, CHALEEE (trademark profound post ABA twist) from 0.43 to 0.44 was similarly used in Shreya’s line, MILNA-AAAA (trademark profound post ABA twist) from 3.19 to 3.20 & 3.23 to 3.24 in TERA MERA MILNA from AKS – THE MOVIEE, and Himesh’s line ALLAH-AAAA (trademark profound post ABA twist) from 1.41 to 1.42 in MASHAH ALLAH from KARZZZZ.

Though not similar in actual melody, the core mukhda lines ISHQ MEIN RUSWA (repetitive hook) are another version of the lines AASHIQ BANAAYA AASHIA BANAAYA (repetitive hook) in ABA TITLE TRAX and PYAAR MEIN TERE PYAAR MEIN TEERE (repetitive hook) in PYAAR ME TERE from VAAH! LIFE HO TOH AISI. In the sense, when Himesh composed this repetitive hook, the above mentioned repetitive hooks were at the back of his mind.

The fast paced tabla beats form 1.11 to 1.13 give intermittent kick to da listener.

Between mukhda & 1st stanza, the sarangi piece from 1.23 to 1.32 is followed by harmonium piece from 1.32 to 1.41 along with quick heavy tabla hit pattern.

1st stanza

Anwesha sings with melodious halke se feel vocals from 1.41 to 2.05 along with profound heavy drum skips that were similarly used from 2.24 to 2.36 & 4.16 to 4.27 in MAINE CHUN LIYA from DIL MAANGE MORE, are representative as if ‘ heroine mefhil saja kar baithi hui hai and dressed up with full on sola-shinghar in Umrao Jaan style and apni kamsin aadaon se apne premi koh maar gira aur ghayal karne ka intezaar kar rahi hai.

The composition pattern of Anwesha’s line, JAAYE-EEEEEE (quick descending twist) from 1.57 to 1.59 is consists of prolonged twists-n-turns representative of Himesh – the post ABA composer.

Anwesha’s typical unique HR melody lines, CHALE JAANA from 1.45 to 1.46, JEE PAANA from 1.51 to 1.53, TARPAANA from 2.03 to 2.05 have similar typical unique HR melody lines MERI DUNIYAN from 2.48 to 2.50, MERI KHUSHIYAAN from 2.53 to2.54, MUJHKO BADI from 2.57 to 2.59, DIL KI KADI from 3.01 to 3.03 and so on in 2nd stanza in TERA SUROOR from AAP KA SUROOR.

Anwesha’s line, HUM TOH (melodious sweet vocals as if she had a lot of honey/meetha shehad) from 2.11 to 2.12

Anwesha’s line, HUE (abrupt up twist) from 2.38 to 2.40 is similar to line, MERE (abrupt up twist) from 3.11 to 3.12 in DIL NE YEH NA JAANA from RED – THE DARK SIDE.

Between 1st & 2nd stanza, an intense sarangi piece from 2.55 to 3.04 is followed by harmonium piece from 3.04 to 3.13 along with quick heavy tabla hit pattern.

2nd stanza

Anwesha sings with melodious halke se feel vocals from 3.13 to 3.37 along with profound heavy drum skips that were similarly used from 2.24 to 2.36 & 4.16 to 4.27 in MAINE CHUN LIYA from DIL MAANGE MORE, are representative as if ‘ heroine mefhil saja kar baithi hui hai and dressed up with full on sola-shinghar in Umrao Jaan style and apni kamsin aadaon se apne premi koh maar gira aur ghayal karne ka intezaar kar rahi hai.

The composition pattern of Anwesha’s line, JAAYE-EEEEEE (quick descending twist) from is consists of prolonged twists-n-turns representative of Himesh – the post ABA composer.

Anwesha’s typical unique HR melody lines, LAG JAAYE from 3.16 to 3.18, BAD JAAYE from 3.23 to 3.25, HO JAAYE from 3.33 to 3.35 have similar typical unique HR melody lines MERI DUNIYAN from 2.48 to 2.50, MERI KHUSHIYAAN from 2.53 to2.54, MUJHKO BADI from 2.57 to 2.59, DIL KI KADI from 3.01 to 3.03 and so on in 2ns stanza in TERA SUROOR from AAP KA SUROOR.

Anwesha’s line, HUM TOH (melodious sweet vocals as if she had a lot of honey/meetha shehad) from 3.43 to 3.44

A terrific quick intense rising raga tune plays from 4.06 to 4.07 & 4.10 to 4.12

Highlights of this song:

1. Anwesha’s melodious sweet vocals.

2. Quick heavy tabla hit pattern and pre ABA fast paced tabla beats.

3. Intense raag based (sarangi) pieces and harmonium piece.

It is a traditional Indian semi-classical song which caters for and is representative of that old age era, and which enhances the situational backdrop theme of da movie and thus can be interwoven seamlessly into its storyline to progress it forward.

The only obstacle in this song is the ‘deja-vu’ feel. The same thing can be evidenced with MERI JAAN from SILSILAY which was a well structured composition but had a déjà vu feel to it.

Umeed

The song begins with Amrita Kak’s seductive feel vocals in unplugged mode along with an underlying continuous groovy ambient tune and subtle piano flicks.

Amrita’s lines, HAAI-AAAAI (whole hearted croon with on prolonged twist-n turn) from 0.17 to 0.21, UME-EEEEEED (prolonged quick twists-n-turns representative of Himesh – the post ABA composer) from 0.27 to 0.30

The AASHIQ BANAYA AAPNE REMIX beats kick in from 0.36 onwards along with a passionate violin piece.

The rwakin intermittent breezy vibrant techno bazz sound in the rhythmic beat from 0.59 to 1.02 builds up the song.

Sabri’s high pitched desperation plea mukhda lines TERE BIN YEH SAANSEN NA CHAALE, TERE BIN YEH SMAAHEIN NA DHAALE from 1.30 to 1.41 are comprised of repetitive hooks followed by JALEE-EEEEE (prolonged twists-n-turns) from 1.42 to 1.46 that are much like offering a Muslim prayer, along with clap effect from 1.30 to 1.45 which was also used in stanzas of AASHIQ BANAYA AAPNE REMIX to enhance the rhythm quotient.

Between mukhda & 1st stanza, the prolonged passionate violin theme piece plays.

1st stanza

In terms of orchestration, Himesh plays with the listeners pulse and takes them by an unexpected surprise by using age old peppy tabla hits from that were similarly used from 1.19 onwards in MADHUHALA MEIN KHOYA from DAMADAMM.

The continuous groovy ambient tune that joins in from 2.41 to 2.52 gives a mysterious feel.

The full on remix beats kick in from 2.52 onwards to restore back the fast tempo of the song.

Between 1st & 2nd stanza, the prolonged passionate violin theme piece plays from 3.24 to 3.47, along with soulful desperation plea male croon from 3.35 to 3.38

2nd stanza

In terms of orchestration, Himesh plays with the listeners pulse and takes them by an unexpected surprise by using age old peppy tabla hits from 3.48 to 4.12 that were similarly used from 1.19 onwards in MADHUHALA MEIN KHOYA from DAMADAMM.

The continuous groovy ambient tune that joins in from 4.00 to 4.12 gives a mysterious feel.

The full on remix beats kick in from 4.12 onwards to restore back the fast tempo of the song.

Sabri’s line, SADMAAAA (prolonged high pitch soulful croon) from 4.17 to 4.20

Highlights of this song:

1. Amrita Kak’s whole hearted seductive feel vocals and Shahab Sabri’s high pitched desperation plea vocals.

2. Underlying rhythmic ABA REMIX beats with an intermittent breezy vibrant techno bazz sound, and clap effect.

3. Passionate violin theme piece used intermittently throughout and continuous groovy ambient tune in stanzas.

Lagan Lagi

The song begins with a underlying continuous mysterious haunt feel tune along with Sabri’s lines that have a ‘uljhi vi’ complex raag compositional structure that are representative of the testing times for the lovers who are in crisis / difficulty and something is just not quite right in terms of major obstacles and hurdles in the path that have to be overcome in order to reunite.  

The mukhda lyrics, DHAAGA HO TOH TOD DU, PREET NA TODI JAAYE are outstanding.

Shreya’s melodious halke se feel vocals from 0.43 to 1.01 build up the song tremendously, with emphasis on her line. LAGI-EEE (awesome desperation plea twist) from 0.54 to 0.56

The rhythmic semi-classical beats kick in from 1.02 onwards along with likeable peppy shehnayi theme piece from 1.07 to 1.25

Off-da-hook profound heavy drum hits that give kick from 1.15 to 1.16 & 1.58 to 2.00 are followed by quick drum skips from 1.17 to 1.25 & 2.00 to 2.03

Shreya’s mukhda lines have well structured catchy melody, with emphasis on her line BAS MEIN NAHIYEEE (off-da-hook desperation plea emphasis vocals with vocal deepening whereby she pours her heart out) from 1.35 to 1.37 & 1.40 to 1.41

Himesh has always insisted that his melodies are simplified versions of complex uljhi vi raga tunes keeping in mind the preferences of the common man intact.

However, this time around he showcases yet again that his core fundamentals as a composer cannot be questioned and challenged as firstly he has created a complex ‘ujhli vi’ raag structure for Sabri’s intense high pitched desperation plea lines which are on a ‘higher scale’ and secondly he has ‘merged’ them with Shreya’s lines which are at a ‘lower scale’. In the manner Himesh has merged both these ‘different scales’ to form an ‘overall melody flow’ reaffirms his soundness in the raag genre. It will sound ‘unusual’ at first and would require ‘few repeat hears’ to catch the overall melody flow in totality.

Between mukhda & 1st stanza, the likeable peppy shehnayi theme piece plays along with quick drum skips.

1st stanza

Shreya sings with melodious classical feel vocals, along with a continuous tune from 2.59 to 3.08 that gives great sur to her lines.

Shreya’s line, TAMANNA (awesome desperation plea emphasis vocals with vocal deepening whereby she pours her heart out) from 3.05 to 3.06

Shreya's lines from 3.08 to 3.15 have melodious halke se classical feel twist vocals.

Between 1st & 2nd stanza, the best orchestration of the song plays with off-da-hook heavy drum hits that keep increasing in tempo along with a catchy intense tune from 3.52 to 4.10 gives a sense of urgency in terms of the stern test of the female lover to save her loved one, jaise ki pyaar ke imtehaan ki ghari aur kadi pareeksha hai lekin usko anjaan dene le kiye samay kam hai.

2nd stanza

Shreya sings melodious classical feel vocals, along with a continuous groovy tune from 2.59 to 3.08 that gives great sur to her lines.

In LAGAN LAGI from DANGEROUS ISHHQ, Shreya's line, JAUUN (desperation plea vocal deepening emphasis) from 4.35 to 4.36 is similar to her line, HUUUUU (desperation plea vocal deepening emphasis) from 3.12 to 3.13 in AASHIQ BANAYA AAPNE TITLE TRAX in da manner in which she pours her heart out.

Shreya’s line, LAGI-EEE (awesome suddent abrupt up twist) from 5.37 to 5.38 is similar to line, OOO (awesome suddent abrupt up twist) from 0.48 to 0.50 in SANGDIL SANAM from TUM.

Shreya's lines from 4.08 to 4.48 have melodious halke se classical feel twist vocals.

Off-da-hook drum hits along with Sabri’s prolonged high pitched alaap from 5.40 to 5.47 followed by Shreya’s complex raag alaap depicts the test of fate that is bestowed upon da lovers.

Highlights of this song:

1. Shereya’s melodious innocent classical feel vocals and Sabri’s high pitched desperation plea croons on complex raag based mukhda tag line used intermittently throughout.

2. The rhythmic semi classical beats, and quick drum skips.

3. Likeable peppy shehnayi theme piece and continuous groovy tune at start of song and in stanzas.

4. Off-da-hook profound heavy drum hits from 1.15 to 1.16 & 1.58 to 1.59 that gives tremendous kick and in between 2nd stanza along with a catchy tune that catch da listeners pulse and makes them feel it big time.

5. Outstanding mukhda lyrics, DHAAGA HO TOH TOD DU, PREET NA TODI JAAYE.

My Picks

1. Naina Re and Tu Hi Rab (TIE)

I am aware that many fans fav song is Naina Re and i regard this song very highly too. But my personal fav song in da album is Tu Hi Rab, which has outstanding typical unique HR melody in its mukhda, jisko sunke dil khush ho jata hai, and my basis for this view is also based in terms of repeat hears thus far i.e. i have heard Tu Hi Rab more times as compared to Naina Re which implies that i like it more. Naina Re is outstanding too, nothing can be taken away from it at all. Even it makes great impact in the movie, especially its stanzas and also right at the end.

Tu Hi Rab

Melodywise, its the most catchy song of da album. Yeh gaana is album ki shaan hai, iska mukhda sunke toh bas dil khush ho jata hai. Its mukhda comes from the top musical drawer of Himesh - the pre ABA composer. Rahat just rwaks it with his vocals. The starting build up of song with piano keys, subtle guitar riffs and passionate violin piece is tremendous and slowly gets da listener into da zone. BEST PART is Rahat’s mukhda lines, DEEWAAR PE (history striking melody bowls over da listener) TERA CHEHRA (typical unique melody) from 1.02 to 1.08, 1.13 to 1.19 & 2.01 to 2.06, Tulsi Kumar’s high pitched melodious haunt feel vocals have depth / goonj, when emphasis on her standout mukhda line, TU MUQAAM (off-da-hook abrupt melodious haunt feel twist) from 1.51 to 1.52 & 2.27 to 2.28, TU REHNUMA-AAAAAN (awesome prolonged feel good melodious twist) from 1.52 to 1.55 & 2.29 to 2.32, and her stanza vocals with melodious halke se feel take da listeners into nostalgic mode. Rahat’s stanza lines keep on alternating between shayariana andaz and bandish mode. Rahat's lines, CHAAND ADHOORA (desperation feel vocals) from 3.14 to 3.16 in 1st stanza, PYAAR HAMAARA (desperation feel vocals) from 5.11 to 5.14 in 2nd stanza win over the listener.

The best aspect of this song is that it brings back the compositional n orchestration traits of Himesh - the pre ABA composer after so many years, whereby Rahat Fateh Ali just HITS A SIXER with his vocals. The very first time i heard this song when it just released, when i heard Rahat's SHARP vocals in the mukhda, they gave striking melody, and i said to myself "yeh toh HISTORY ho gayi boss". This song has got some seriously well structured classy melody n it has tremendous repeat hear value appeal...n it could easily slip into the evergreen collection play list of pre ABA styled melodies.

Naina Re

It is a soulful melody with a sad undertone to it. The song has a warm feel, vibe and ambience in the sense it fills the heart with warmth. The BEST MELODY in terms of most melodious lines is Shreya Ghoshal's mukhda lines SABKI PREM KAHAANIYAAN, DIL KI BECHANIYAAN, TU HI SHURU KARWAAYE from 1.22 to 1.32, Shreya’s melodious vocals (especially in the mukhda) take the song to a higher level. Underlying laidback rhythmic beat is instrumental USP in this slow paced number and enhances the free flowing nature of the vocals. The quick wicked bansuri skip effect from 2.19 to 2.24 in between 1st stanza gap is cult stuff. Off-da-hook finger snap effect from 1.17 to 1.21, 2.14 to 2.18, 3.29 to 3.57 is representative of old age era. Himesh’s soulful killer lines AANSOO ANKE CHALKA JAAYE DIL KA PEMANA, ISHQ MEIN HAI ITNE SADME DIL NE NA JAANA lines 2.25 to 2.43 in 1st stanza. The sad violin piece in stanzas enhances the pain quotient. Rahat and Shreya pour their heart in the complex alaap from 3.46 to 3.48 (catchy soulful) & from 3.53 to 3.57 (halke se feel). All the male and female singing portions are well sequenced / distributed and all have an equally contributing significant role to play in their own way.

2. Lagan Lagi

This song has a MIX of Semi Classical and Traditional Indian flavor. BEST MELODY in song is Shreya’s catchy mukhda lines. The well structured peppy shehnayi theme piece is likeable. BEST ORCHESTRATION is off-da-hook profound heavy drum hits from 1.15 to 1.16 & 1.58 to 1.59 that give tremendous kick, in between 2nd stanza gap along with a catchy intense tune that makes the listener feel it big time and off-da-hook profound heavy drum skips from 5.40 to end. Shahab Sabri’s complex ‘uljhi vi’ raag structure (vocal theme piece) used intermittently through and off-da-hook heavy drum hits that keep increasing in tempo along with a catchy intense tune in between 2nd stanza gap are representative of the testing times for the lovers who are in crisis / difficulty and something is just not quite right in terms of major obstacles and hurdles in the path that have to be overcome in order to reunite. And the stern test of fate and time that the heroine is facing to save her loved one, jaise ki pyaar ke imtehaan ki ghari aur kadi pareeksha hai lekin usko anjaam dene le kiye samay kam hai.

The scales of male / female vocals are ‘different’ i.e. shreya’s lines are at a ‘lower’ scale whereas Sabri’s lines are at a ‘higher’ scale. In the manner that Himesh has ‘merged’ Shabri’s intense high pitched vocals on a complex ‘uljhi vi’ raag structure at a higher scale with Shreya’s lines on a lower scale will sound ‘unusual’ at first and would require ‘few repeat hears’ to catch the ‘overall melody flow’ in totality, as it could be a bit complicated for the average listener to come to terms with in da first instance.

Though a decent hear, this song could be many notches higher if this catchy mukhda melody could have been backed up in totality, but Himesh opted for the complex prolonged ‘ujhli vi’ raag for male portion, and/or if the catchy mukhda lines were also sung in male high pitch vocals as they would have struck a chord.

The raag based mukhda line...lagan lagi more piya, bas mein nahi mora jiya...tere preet ka dhaga maine baandh liya (Shreya pours her heart out in line...Bas Mein Nahi) on its own standalone is catchy n melodious. If its lyrics n orchestration are substituted with proper love ballad lyrics n orchestration, it could be a pre ABA melody. But due to requirements of film's genre, it shapes up to be a devotional song due to chant based stanzas, 'bhakti' based orchestration n complex raag alaap croons by Shahab...n these elements limit its commercial reach.

To be harsh, this song was wasted in this album by giving it a complex raga twist becaused its mukhda is a top pre ABA mukhda. If this song was re-created again in pre ABA style by getting rid of Shabab's vocals, semi classical arrangement, shehnayi piece...and re-arranging it with pre ABA style in Udit Narayan and Alka Yagnik's vocals, along with different stanzas and stanza gap instrumental pieces, and then put it in Tere Naam album. The results would be outstanding.

3. Ishq Mein Ruswaa and Umeed (TIE).

Umeed

Underlying rhythmic beat is the ABA REMIX beats along with an intermittent breezy vibrant techno bazz effect. Amrita Kak’s lines, HAAAAI (whole hearted vocals with vocal deepening emphasis) from 0.17 to 0.20, DUUR HONE KA SADMA (traces of typical unique HR melody) from 0.05 to 0.09 & 1.03 to 1.06, UMEE-EEEEEED (prolonged twists-n-turns) from 0.26 to 0.30 & 1.22 to 1.26 are representative of Himesh – the post ABA composer. BEST ORCHESTRATION is the build up of Amrita Kak’s mukhda lines by da rwakin vibrant breezy techno bazz sound from 0.58 to 1.08 & 1.46 to 2.02 that gets da listener into da zone. Sabri’s mukhda lines TERE BIN YEH SAANSEN NA CHAALE, TERE BIN YEH SMAAHEIN NA DHAALE from 1.30 to 1.45 are comprised of repetitive hooks followed by JALEE-EEEEE (prolonged twists-n-turns) from 1.42 to 1.46 that are much like offering a Muslim prayer, along with clap effect to enhance the rhythm quotient. Passionate violin theme piece plays intermittently throughout. Gradually rising continuous groovy ambient sound from 2.41 to 2.52 & 4.01 to 4.12 in both stanzas gives a mysterious haunt feel effect. High pitched desperation plea soulful croon from 3.34 to 3.38 & 4.18 to 4.21

It was a must for every pre ABA album to have an item / club / dance number. With this regard, if this song is compared with some of those outstanding numbers in the past, then the composition is okay sokay in terms of melody but the song has a good underlying rhythmic groove to it, thus making it a part of a playlist of such songs.

The drawback in this song is the tabla beats in stanzas as they disrupt the flow of the remix beats and also the overall tempo of the song, and hence they act as spoilsport and sound odd in the overall song mix. Another suitable beat pattern should have been used for the stanza portions instead, or even better just stuck with the remix beats throughout the song.

Ishq Mein Ruswaa

A traditional semi classical song representative of the ‘umrao jaan’ setting. BEST PART is Anwesha’s mukhda lines, IN GALIYON KO IN RAASTON from 0.33 to 0.38 which are sung with melodious innocent feel vocals, HUM TOH (melodious sweet vocals as if she had lot of meetha shehad) from 0.39 to 0.40. Underlying quick repetitive heavy tabla hit pattern that gives semi-classical kick to da listener. The pre ABA styled fast tabla beats from 0.46 to 0.49 & 1.10 to 1.13 give intermittent kick, Harmonium theme piece and Intense sarangi from 2.59 to 3.04 in between 2nd stanza gap and from 4.05 to 4.07 & 4.11 to 4.13 in 2nd stanza are the semi classical instrumental mainstays in the song. Profound heavy drum skips are used in stanzas from 1.41 to 2.04 & 3.13 to 3.37. The hitch is its déjà vu feel and slow paced tempo in stanzas.

Verdict

When the film was initially touted to be a suspense thriller, one expected this album to be dominated by ‘mysterious haunt feel’ melodies along with Sufi Rwak. But due to the span of era the film covers in terms of the old age eras that are revisited back in time to unravel da mystery, the album has a TRADITIONAL INDIAN touch and flavor to it, which come across as a pleasant surprise because pre ABA elements are on offer.   

The USP of this album are the two opening tracks TU HI RAB and NAINA RE (original/reprise) which have the ammunition to take the album through on their own firepower merit. Both are well structured catchy compositions that only grow upon da listener with passing repeat hears and thus both have a long ‘shelf life’. The remaining three tracks are decent supporting add ons. Remixes are given a refreshing treatment and are not the ‘usual run of da mill stuff’ just for namesakes in order to fill up da spots. So they are a plus / high point as they enhance and further the mass appeal.

The film has a soulful haunt feel song with a sad undertone to it (Naina Re), duet love ballad to depict the romantic love story (Tu Hi Rab), two semi classical raag based songs with traditional feel that depict the old age era from heroine’s point of view as she goes back in time (Lagan Lagi and Ishq Mein Ruswa), and a club track (Umeed) to enhance the commercial as[pects along with the rhythm quotient since a full on killer Sufi Rwak track is missing from the album.

High Points as a composer:

An ace move to rope in Rahat Fateh Ali Khan who is one of most popular universally accepted singers , and co-sing along with him, thus taking their rapport and working relationship one step further. This is a diplomatic street smart move from haters point of view, in the sense that they always find an excuse of pulling down a terrific composition which is also sung by him but in contrast they highly rate and are in all praise of songs sung by other male playback singers like Rahat (Teri Meri is a prime example of this whereby the Rahat factor played its part for breaking digital download records). So Himesh decided, ‘why not I just sing along with Rahat saab and put back da onus back on haters in terms of rethinking their pre biased stance towards me’.  

Giving an opportunity to young music talents like Anwesha and Shahab Sabri, which also brings more variety to the album in terms of range of singers used.

Stand out orchestration:

> The build up in unplugged mode comprised of likeable piano piece, laidback guitar riffs and catchy passionate violin piece from start to 0.44 in TU HI RAB.

> Underlying laidback rhythmic beat in NAINA RE ORIGINAL and off-da-hook finger snap effect along with matka beat in NAINA RE REPRISE.

> Painful sad violin piece in stanzas and off-da-hook wicked cult quick bansuri skip effect from 2.19 to 2.24 in between 1st stanza gap of Naina Re.

> Off-da-hook profound heavy drum hits from 1.15 to 1.16 & 1.58 to 1.59 in mukhda that give tremendous kick, off-da-hook drum hits that keep on getting aggressive along with intense catchy tune from in between 2nd stanza gap from 3.52 to 4.10 that make da listener feel it big time and off-da-hook profound drum skip effect from 5.40 to end of LAGAN LAGI.

> Nice to hear the pleasantly likeable piano pieces at start of TU HI RAB and NAINA RE.

Stand out vocals:

> The BEST LINE in the album is Rahat’s mukhda line, MERE DIL KI HAR EK DEEWAAR PE TERA CHEHRA from 1.02 to 1.08, 1.13 to 1.19 & 2.01 to 2.06 that has history striking vocals on typical unique HR melody in TU HI RAB.

> Himesh’s soulful lines, AANSOO ANKE CHALKA JAAYE DIL KA PEMANA, ISHQ MEIN HAI ITNE SADME DIL NE NA JAANA that have melody impact from 2.24 to 2.43 in 1st stanza of NAINA RE.

> Shreya’s melodious mukhda lines, SAB KI PREM KAHAANIYA DIL KI BECHAINIYA from 1.22 to 1.27 that get da listener into da zone in NAINA RE.   

> Tulsi’s high pitched melodious haunt feel lines, TU MUQAAM (off-da-hook abrupt melodious haunt feel twist) from 1.51 to 1.52 & 2.27 to 2.28, TU REHNUMA-AAAAAN (awesome prolonged feel good melodious twist) from 1.52 to 1.55 & 2.29 to 2.32 in TU HI RAB.

> Shreya’s catchy mukhda lines from 0.43 to 2.04 in LAGAN LAGI.

Any hinderances?

> The album has 2 songs ISHQ KA RUSWAA and LAGAN LAGI in semi classical genre. These are bound to get mixed response as they cater mainly to a certain purist segment of music listeners as opposed to mass listeners who are into ‘dhin-chak’ stuff. So, in addition to their reach in terms of universal appeal, it also depends how long their shelf life lasts over da passing period of time. While being decent hears, these 2 tracks should have more onscreen impact when they are interwoven in da storyline to further the narrative, and they also cater to the situational appeal in terms of the film’s backdrop theme setting in the old age era.
Himesh has also done some experimentation which may get a mixed response.

> He has used a complex ‘uljhi vi’ raag in the male portion of LAGAN LAGI, by choosing to go into more serious depth of classical melody, at the expense of commercial element. He also used such complex raags in BANARAS.

> He has used peppy rhythmic old age tabla beat pattern as the build up part in stanzas of UMEED, which could be seen as being a hitch in terms of the overall song’s fast tempo in addition to be unusual twist in a full on dance track. Since this song had da ABA REMIX beat, perhaps this beat could be used throughout so that the song ran along a fast lane all da way.

> Jayesh Gandhi ‘s vocals are missing.

Conclusion

There are certain albums in which most songs sound initially catchy in first few instances or play at mass festivals, but then quickly fade away from da musical scene. But the songs of this album grow upon da listeners with passing time so the one thing that aam junta (and not Himesh fans) should do is to give this album some time and patience for the sound to settle in. Also, since Himesh hasn’t sung all songs unlike the case in his own films, da soundtrax has a wider appeal and reach because this album musically caters and offers also to those people who only like him as a composer.  

This completes da hat trick of Himesh – Vikram Bhatt albums in the post ABA era after albums like RED – THE DARK SIDE which had two terrific songs Afreen (fullon Sufi Rwak) and Dil Ne Na Jaana (Semi Classical), and FEAR which had some melodious haunt feel melodies. Thanks to Vikram Bhatt for roping in Himesh. The content in his films speaks for itself rather than a mammoth star cast. The Bhatts generally have great sensibilities of the peculiar kind of music they want in their films that have a ‘dark / grey’ shade in mysterious suspense thriller genre in which Himesh has taken a liking to and comes up with promising soundtracks (as can be evidenced in his albums with Abbas-Mustan who are ace maestro directors in this genre, and his masterpiece Kajraare for Mahesh Bhatt). So on this note, it is hoped that Himesh will work in the Bhatt camp again in da future too.

When a composer says that he had taken a sabbatical from the musical scene for 1.5 years in terms of scoring for outside films, in order to come up with a fresh stock of new tunes, it is wondered what sort of musical goods he will come up with to deliver. In that regard, HR 2.0 (Himesh Reshammiya Upgrade) HRR (Himesh Reshammiya Reloaded) is very much in da music zone that can be associated with both his pre ABA n post ABA era as there is typical unique HR melody and prolonged twists-n-turns in portions of the songs. Especially the pre ABA elements in terms of instrumentals and melody pieces / hooks are heartening to see because while Himesh may enter as many new eras or versions in terms of upgrade of his song back, he started off as a pre ABA composer.

Remixes

Unlike the originals, remixes are 'not' ranked.

The remixes are given a fresh / refreshing treatment and thus are a plus / high point of the album, as opposed to just being add ons. They would enjoy air time in clubs and discotheques. The stand out ones are Naina Re, Tu Hi Rab RnB / Reprise, and Umeed (in the build up portions).

Naina Re Remix

This rhythmic peppy remix which brightens up da listeners mood and lifts their spirits is a complete 360 U turn in terms of the treatment given to it as opposed to the contrasting original soulful sad number.

The feel good theme piece tune from 0.16 to 0.31 & 1.14 to 1.29 & 2.56 to 3.11 is likeable.

The rwakin fluctuating electro remix tune from 0.32 to 1.13, 0.54 to 1.13 and so on is catchy.

The quick computerized vocal skip effect of Himesh’s high pitched lines from 2.19 onwards is off-da-hook, followed by tremendous build up by underlying gradually growing sound from 2.24 to 2.37 and whoosh wind effect from 2.38 to 2.55 along with the intro of Rahat’s vocals.

Tu Hi Rab Reprise

Tulsi sings with a funky kool attitude with naughty teasing seductive feel vocals in a ‘lower’ pitch range, due to which her vocals sound sweet / cute.

Her line, BAAZUON (awesome feel) from 2.12 to 2.13

Tu Hi Rab RnB Mix

It has 2 best parts i.e. the feel good chillax super kool male rap from 0.21 to 0.41 and the catchy ambient tune from 1.15 to 1.25, 2.43 to 2.53 & 4.10 to 4.20 along with Tulsi’s high pitched mukhda lines.

The underlying RnB beat has a repetitive skip effect i.e. 0.22, 0.25, 0.28 and so on.

Off-da-hook funky wicked bazz sound from 1.02 to 1.03, 2.17 to 2.18, 2.30 to 2.31 and so on.

The build up in between 2nd stanza gap with catchy passionate violin piece in unplugged mode from 2.53 to 3.02 followed by main RnB beat from 3.03 to 3.13 is kool.

Umeed Remix

In terms of orchestration, the original version had da ABA REMIX beat, so in a way this is kind of a ‘remix of a remix’. The DJ really plays big time with the listeners pulse in the intermittent ‘trance’ portions which are the best parts of the remix from start to 0.28, 1.08 to 1.18, 1.34 to 2.02 & 2.18 to 2.52 by building up jazba and giving a good doze of adrenaline nitrate.

The build up is cult with a catchy ambient fluctuating tune along with repetitive computerized whoosh skip effect from start to 0.06 is joined in by a mysterious haunt gust of wind from 0.07 to 0.14 that gradually grows upon da listener, and off-da-hook drum roll hits from 0.20 to 0.28 that get da listener into da zone.

Off-da-hook semi plugged skip effect from 1.08 to 1.11 along with catchy wicked funky sound is off-da-hook build up, followed by full on thump beats from 1.12 to 1.18 that give foot tapping kick.

Off-da-hook beat effect at 2.53   

The following are the best parts.

The build up with continuous synth whirlwind whoosh sound effect from start to 0.29, 1.34 to 2.03 & 2.19 to 2.53 that keeps on gradually growing upon da listener as if a powerful gust of wind is breezing through at high speed, along with off-da-hook drum roll beats from 0.20, 1.56 & 2.44 onwards that keep on increasing in tempo is cult stuff.  This is some serious sound whereby the DJ knows what exactly he is doing, as he gets da listener slowly n surely into da groove and into a high state of trance.

The manner in which the whoosh sound gets aggressive and its acceleration pattern to get louder from 1.42, 2.39 & 2.46 onwards along with a rwakin fluctuating techno tune is off-da-hook stuff.

Ishq Mein Ruswa Remix

Since the original track was slow paced and thus catered to a select segment, its remix version peps up the tempo to enhance its mass appeal.

Best part is the rwaking calypso effect from 0.15, 0.17, 0.19 and so on after after 2 seconds gap.