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Tanha Tanha

When himesh mixes LOWER OCTAVE with HIGH PITCH then the result will always be TERRIFIC.

The song begins in unplugged mode with Himesh's high pitched vocals with echo effect.

The guitar riffs from 0.39 to 0.48 are joined by semi-plugged beat from 0.49 to 0.53 to build up the song.

The laidback beats kick in from 0.54 onwards along with an underlying profound persistent dose of bazz sound.

The quick additional beats at 1.02 give perfect kick start to himesh vocals.

Himesh sings in lower octave and goes inner soul-searching from 1.03 to along with intermittent cute groovy flute tune from 1.06 to 1.08, 1.13 to 1.16, 1.20 to 1.23 & 1.28 to 1.30

Himesh's lines, RUBARU (awesome feel) from 1.04 to 1.06, HO GAYA (awesome halke se feel gets listener into da zone) from 1.11 to 1.13, SUKOON SARA (slight voice deepening) from 1.24 to 1.26, CHIN (emphasis feel) at 1.26

Himesh's lines, sukoon sarAAAA-AA (great twist), chingayAAAAAAAAAAAA (prolonged dying effect which is his trademark finishing sufi rwak effect) from 1.31 to 1.38, SAAAAAARA (awesome shayariana ghazal andaz down twist with thehrav) from 1.43 to 1.44

Himesh's line, CHIN GAYA from 1.46 to 1.48 resembles the tune of his line HUM SAFAR from 0.38 to 0.40 & 0.58 to 1.00 in MILE HO TUM TOH from DIL DIYA HAI.

The quick beat hits from 1.48 to 1.49 gives great intermittent effect.

Himesh's lines, ME - EE -EE - EE (abrupt slogan leaves with repetitive echo effect) from 1.52 to 1.54,  LIYE - EY - EY - EY (abrupt slogan leaves with repetitive echo effect) from 1.56 to 1.58, MEIN - EN - EN -EN (abrupt slogan leaves with repetitive echo effect) from 2.02 to 2.04

Himesh's lines, MEEIIIIAAAAIIIIINNNNNNN (terrific middle octave impact twist) from 2.11 to 2.12

At 2.21, raat MEEEIIIIIAAAAAIIIIIN (terrific prolonged middle octave impact twist) from 2.21 to 2.22

The continuous tune sur behind himesh's vocals from 1.53 onwards gives haunt feel.

Between mukhda & 1st stanza, a laidback synthetic piano piece plays along with profound bazz sound.

1st stanza

Himesh's lines, TUJHSE, KARNE, JAANE & MARNE have high note emphasis.

Between 1st & 2nd stanza, the quick keyboard flicks from 3.41 to 3.59 is a very well structured complex prolonged tune piece, with emphasis from 3.50 to 3.52 (INTENSE) which resembles the string-based INTENSE raga tune from 2.14 to 2.18 in TERE HI LIYE from MR FRAUD. The inter-connecting link in the form of quick synthetic piano flicks from 3.48 to 3.49 & 3.57 to 3.59 (gradually rising in steps, gives KICK) in order to adjust the overall tune to higher notes is well thought of.

2nd stanza

Himesh's lines, IN - NN -NN (abrupt slogan leaves with repetitive echo effect) from 4.01 to 4.02, HAR - AR - AR (abrupt slogan leaves with repetitive echo effect) from 4.09 to 4.10

Himesh's goes all out to fully express himself in line, AAAAAEEEEEEE (OFF-DA-HOOK FULLTU high pitched vocals) from 4.04 to 4.05

Himesh's lines, LAGTA (terrific high note emphasis) from 4.13 to 4.15

Himesh's lines along with continuous haunt feel tune sur from 4.47 onwards take da song into its business end mode, with emphasis on his line TANHA TANHA RAAT MEIN (OFF-DA-HOOK singing this!) from 5.05 to 5.09

Highlights of this song:

1. Himesh's combo variation changes in between soul touching lower octave and high pitched emphasis vocals with a sharp knife edge 'Sufi Rwak' tonal quality.

2. Himesh's profound middle octave impact twists with trademark sufi rwak finishing effect and abrupt slogan leaves with repetitive echo effect.

3. Underlying laidback beats along with profound persistent bazz sound throughout.

4. Guitar riffs along with semi-plugged beat for build up at start, additional quick beat effect, cute groovy flute tune, continuous haunt feel tune sur, and well structured gradually rising string based raga piece with intermittent quick synthetic piano flicks.

Dil Dhadkata Hai

The starting sound is dodgy along with Jayesh's croons followed by very raw orchestration.

The violin piece follows after which the bazz trumpet kicks in.

The underlying beats have a continuous voltage fluctuation type sound that give a retro feel.

Jayesh's croons in between Gayatri's vocals create a haunt and desperation effect.

Raw drums hit from 1.13 to 1.16, 1.30 to 1.34

The tune pattern from 1.23 to 1.24, 1.26 to 1.28 has haunt kick.

Between mukhda and 1st stanza, a wicked haunting oriental flute plays followed by intense violin piece.

The string tune in unplugged beat skip along with a wicked haunt sound from 2.11 to 2.12

Stanzas are better than mukhda in terms of composition pattern and structure.

1st stanza

Gayatri changes to a higher pitch and her lines from 2.13 to 2.48 are well structured.

Her high-pitched lines from 2.48 to 3.03 are sung with vigor and arrogance.

The tune sur from 2.51 to 2.52, 2.55 to 2.56, 2.59 to 3.00 give the right effect to the above lines.

The keyboard pattern from 3.16 to 3.17, 3.20 to 3.21 is great.

Between 1st and 2nd stanza, the beat skip along with a creepy rising sound is followed by a bazz sound that gets the listener into the groove, followed by cunning haunt sound. The manner in which the sounds follow one another and merge in overall sync is commendable.

2nd stanza

Gayatri changes to a higher pitch and her lines from 4.10 to 2.48 are well structured.

Emphasis on her line SUKUUN (desperation feel) at 4.39, LE-NEEE (feel) at 4.40

Her high-pitched lines from 4.45 to 5.00 are sung with vigor and arrogance.

The tune sur from 4.48 to 4.49, 4.52 to 4.53, 4.56 to 4.57 give the right effect to the above lines.

The keyboard pattern from 3.16 to 3.17, 3.20 to 3.21 is great.

In the end, Gayatri goes super high from 5.11 to 5.24 especially the lines KYA CHEEZ HAI JAANE JAANA.

Highlights of this song:

1. Gayatri Iyer's vocal variations in different pitches.

2. The tune sur in stanzas, wicked oriental fulte effect, female haunt sound, the unplugged beat skip with string instrument and the one by one merger of instruments to play in perfect sync in between 1st and 2nd stanza.

I cannot understand the reasoning behind the raw orchestration and drum beats.

Perhaps it could be tighter and also the ISHQ ISHQ croons could be thought out to give better effect.

Dil Di Daro Deewar Pe

HR's favorite pair who sung countless chartbusters pre-ABA get a chance together to go duet after ages.

The starting piano piece in unplugged mode is likeable followed by an intense violin piece.

Udit sings with his usual soothing feel, his trademark specialty.

His line MERIIIIII-IIIII (twist) – IIII (twist) from 1.06 to 1.10, 1.31 to 1.34 comes from the new-age sufi rock prolonged twists.

The underlying beats are subtle and laid back.

The tune sur from 1.20 to 1.28 is nice.

The bazz sound at 1.16, 1.41 provides good effect.

Udit's line PEEEE at from 1.44 to 1.45 is super soothing and reminds of the line TERE from 0.35 to 0.37 from TERE NAAM – SAD.

Between mukhda and 1st stanza, rising keyboard flick followed by haunting sound, piano pattern, and haunting female chorus.

1st stanza

Udit continues his soothing feel.

The tune sur provides a bit of haunt effect.

Between 1st and 2nd stanza, the keyboard pattern in unplugged mode has haunt effect followed by passionate violin piece and haunting female chorus.

2nd stanza

Alka arrives with her melodious vocals with emphasis on lines ME,EK, TERI, NAZARO NEE (strike), MERI, TUNE, RAAT DIN (feel),HAR DHADKAN, MERI-IIII-IIII (prolonged twist)The tune sur provides a bit of haunt effect.

Udit's line TERA (feel twist) from 5.02 to 5.03

The song ends with soothing haunt effect.

Highlights of this song:

Alka's striking melodious vocals and Udit's soothing feel vocals.

The laib back beats, piano piece, passionate violin, the bazz sound and haunting tune sur and female chorus.

This song follows a fixed pre-ABA duet formula whereby the female sings in 2nd stanza.

Critics have bashed this song and Tu Hai Ishq saying that it doesn't have that same pre-ABA zing. Well, I say that these are not your typical duet but are doing justice to the haunting theme of a horror movie with a love story. Hence, these 2 songs can easily slip into the sound trax of VAADA. Oh by the way, critics also verbally bashed the title trax of Vaada!

Tu Hai Ishq

Surprise, the 3 veterans Alka, Sanu and Sonu are back together in a Himesh song after ages.

The song begins with a pleasant flute piece followed by a raga sound.

Sonu kick starts the song in subtle vocals in unplugged mode.

The PIANO PIECE is lovely.

Sonu's lines TUM (twist) at 0.49

Sonu's line, HAAAI (desperation emphasis plea twist) from 0.51 to 0.53 is similar to his line HAS - DOOO (desperation emphasis plea twist) from 1.27 to 1.28 in KUCH MEETHA HO JAYE from KMHJ.

The 3 lazy hits at 0.55 and 1.12, have a similar feel and idea to the ones used in KABHI NA SUKUN AAYA from KOI AAP SA in between 1.21 and 1.22

The piano tune sur at 0.56, 0.59, 1.02, 2.29, 2.32 & 2.35 is lovely.

Emphasis on Alka's lines TUMSE, TUM (twist) SE

The quick descending piano flick from 1.09 to 1.11, 2.41 to 2.42, 4.17 to 4.18 have the similar idea to the ones used in KYUN KI ITNA PYAR from 5.11 to 5.12 and ISHQ CHUNARIYA from 2.49 to 2.50 & 4.11 to 4.12

Between mukhda and 1st stanza, more lovely piano piece plays followed by a likeable tune and haunting female vocals.

1st stanza

The additional beats at 2.04 give sahi desired effect.

The continuous tune sur behind Sonu's vocals give a haunt feel.

Between 1st and 2nd stanza, haunting sounds play followed by haunting female chorus.

2nd stanza.

The additional beats at 3.04 give sahi desired effect.

The continuous tune sur behind Sanu's vocals give a haunt feel.

Sanu's lines AUR is well sung with feel element.

Sonu's lines TU (emphasis) HAI ISHQ MERA ISHQ (emphasis) YEH NIBHANA HAI are sung with a different approach from 4.36 to 4.41

The song finishes in unplugged mode with faint female background chorus.

Highlights of this song:

1. The 3 veterans come back after a long time.

2. The female chorus with haunt effect, piano tune sur, continuous tune sur in stanzas to give haunt feel, and raga tune.

3. Descending quick piano flick similar to KYUN KI and ISHQ CHUNARIYA and 3 lazy tabla hits resembling KABHI NA SUKUN AAYA style.

This song can easily slip in pre-ABA albums e.g. in Vaada.

My Picks

From Himesh's "sung n composed" songs:

1. Tanha Tanha

There is a dark shade and ambience in Vikram Bhatt's films, and the title trax Tanha Tanha does perfect justice to this backdrop setting of its music video. The underlying laidback rhythmic beat has a constant underlying fluctuating bazz voltage sound. Himesh goes inner soul searching with his lower bazz octave vocals TUM JOH AAYE RUBARU ZAKHMI YEH DIL HO GAYA from 1.02 to 1.27.  His line, HO GAYA (halke se feel) from 1.11 to 1.13, BEST PART is Himesh's line, TANHA TANHA RAAH MEIN (OFF-DA-HOOK catchy singing) from 2.52 to 2.56 in the music video, and from 5.05 to 5.09 in the OST. Stanzas are fulltu high pitched, with emphasis on line AAAAAEEEEEEE (OFF-DA-HOOK fulltu high pitched vocals) SA from 4.04 to 4.05, The sound of thunder and flash of lightening strike a chord from 0.27 to 0.28, 0.31 to 0.33, 1.02 to 1.04, 2.02 to 2.18 & 2.37 to 2.39 in the music video. Song ends with catchy guitar riffs in unplugged mode in the music video.

From Himesh's "composed only" songs:

1. Tu Hai Ishq Mera.

2. Dil Dhadkata Hai (Female).

2. Dil Ki Daro Deewar Pe.

4. Dil Dhadkata Hai (Male).

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