aap_ka_suroor_the_moviee

Music review analysis of Himesh Reshammiya's album Aap Ka Suroor - The Moviee (2007).

Assalaam Vaalekum

By the time the listener hears the opening male rap vocals, he/she is sure that this song will be more of rhythm with energy.

The sound effect from 0.15 onwards indicates grand things to come i.e. Himesh - the rock star to do his thing on the stage.

The unplugged beat skip behind himesh unplugged lines is awesome.

The 2 phrases MOHTARMA (effective) and ASSALAAM VAALEKUM (simple note pattern) give the slogan effect.

The build up from 1.44 to 1.48 is great due to the underlying bass sound pattern.

The drum hits in SYNC with the line KARU from 1.14 to 1.18, 1.56 to 2.00

Himesh sings in high-pitched along with energetic rhythmic beats.

The male croons from 1.37 to 1.42 are very true to Arabian roots.

Between mukhda & 1st stanza, the Arabian styled vocals return with tabla beats followed by Arabian beats.

1st stanza

The composition pattern is simple yet effective.

Himesh continues his high-pitched singing.

Between 1st & 2nd stanza, another Arabian tune followed by classical male croons depicting tadap and ehsaas. This is backed up by the shehnayi piece. The rap is energetic.

2nd stanza

The lines from 4.26 to 4.44 are catchy with emphasis on EHSAASON KI SARGARMI HAI, KHWABON and JAADU (feel) from 4.57 to 4.58, DEEDAR at 5.28

Highlights of this song:

1. The combination of Himesh's high-pitched singing, energetic rhythmic beats, heavy drums behind KARU, rap and 2 slogan phrases MOHTARMA and ASSALAAM VAALEKUM give this song the magnitude and scale of a rockstar's background song.

2. The classical Arabian styled male croons, the tabla and Arabian tunes in between stanzas.

In a nutshell, this song is tailor made for a rock star who is turning on da heat on da stage.

Tera Mera Milna

The song begins with a synthetic piano piece and Jayesh Gandhi's croons in unplugged mode.

The subtle flute joins in from 0.12 to 0.20

The jingle chime effect from 0.08 to 0.10 and quick classical raga tune twist from 0.16 to 0.17 is awesome.

The profound twists in Himes's lines MILNA-AAAA, AKELA-AAAA, MARZI-IIII & AANA-AAAA (which are very much his trademark sufi rwak twists that he uses at will) which are similar to Udit's line, KEE - EEAAEE (twist) from 1.25 to 1.27 in NAZAR AA RAHA HAI from AITRAAZ.

The beat gradually kicks in and gets louder from 0.46 to 0.12

The underlying beats are new-age and very contemporary.

Himesh's line, YEH TERA PAAS (well sung) from 1.37 to 1.39

Between mukhda & 1st stanza, jayesh's desperation feel croons along with awesome quick classical raga tune twist.

1st stanza

The beat effect from 2.25 to 2.26 gives perfect kick start to stanza.

Himesh's lines madhoshi-YAAAN (awesome subtle low twist) from 2.28 to 2.30, nazdeeki-YAAAN (awesome subtle low twist) from 2.32 to 2.34

Jayesh's croons from 2.36 to 2.38 are TERRIFIC.

Himesh's line, MEEIINN (TERRIFIC emphasis singing that gives SIKE) from 2.44 to 2.45

The tune of JAHANO MEIN from 2.43 to 2.45 is similar to the tune of HR's line TUMHARE BINA from 1.07 to 1.09 in DIL TUMHARE BINA from 36 CHINA TOWN.

Shreya ghoshal joins in with her innocent cute yet utterly melodious vocals.

Shreya's line, nibhane-EEEEEE (awesome voice deepening) from 2.56 to 2.58

Shreya's lines from 2.59 to 3.06 are very hummable with good lyrics.

Himesh's prolonged twist AASMANO MEIN (with awesome echo effect) from 3.07 to 3.12 is the grandfather of all sufi rwak prolonged twists, stunningly unique and one of its very kind and it only showcases the CLASS of of Himesh – the singer.

Shreya's lines from 3.16 to 3.49, milna-AAAA (melodious twist), aleka-AAAA (melodious twist), marzi-IIII (melodious twist), naiYYYO (sweet/cute emphasis singing).

Between 1st & 2nd stanza, cutting-edge new age beats play with off-da-hook effect at 3.51, followed by a raga instrument from 4.05 to 4.12 that was also used from 0.32 to 0.46, 1.14 to 1.27, 1.44 to 2.00 & 3.15 to 3.24 in AMEEN from RED, from 0.05 to 0.33 & 1.50 to 2.09 in CHALO DILDAR CHALO from DIL DIYA HAI, from start to 0.29, 0.40 to 0.45, 1.56 to 2.03 & 4.22 to 4.43 in DIL NAIYO MAANE RE from PHIR HERA PHERI.

2nd stanza

Shreya's continues her good work with line SATATE HAIN (awesome melodious echo effect) from 4.22 to 4.25, and her remaining part is melodious.

Himesh's lines from 4.35 to 3.44 appeal for some sympathy from herione's viewpoint.

Jayesh's croons from 4.44 to 4.46 are TERRIFIC.

Himesh's line, ANJUMAAN (this word is only in the Urdu dictionary for Himesh to croon and thanks to Sameerji for such a terrific lyric selection that was also used in 2nd stanza of Ahista Ahista title trax) at 4.47

Himesh's line, MEEIINN (TERRIFIC emphasis singing that gives SIKA) from 4.52 to 4.53

The tune of AAFSANO MEIN from 4.51 to 4.53 is similar to the tune of HR's line TUMHARE BINA from 1.07 to 1.09 in DIL TUMHARE BINA from 36 CHINA TOWN.

Himesh's prolonged twist AAFSANO MEIN (with awesome echo effect) from 4.55 to 5.00 is the grandfather of all sufi rwak prolonged twists, stunningly unique and one of its very kind and it only showcases the CLASS of of Himesh – the singer.

The dying effect of Jayesh's subtle croons from 5.19 to 5.21 is of great cause.

Highlights of this song:

1. Himesh's middle octave vocals especially emphasis singing MEEINNNN in both stanzas which gives sike, prolonged unique twist and ANJUMAAN in 2nd stanza.

2. Shreya's innocently melodious cute vocals.

3. Jayesh gandhi's croons especially the LA AA AA AA that gives terrific sur from 2.36 to 2.38 in 1st stanza and from 4.44 to 4.46 in 2nd stanza.

4. Underlying new age beats, quick classical raga tune twist and off-da-hook beat effect in between 1st & 2nd stanza.

This song is overall rich in QUALITY aspect and is a very fine contemporary new age love duet.

special rose for special girl

Jhooth Nahi Bolna

This song is BINDIYA CHAMAKNE LAGI (DIL NE JISE AAPNA KAHA) VERSION 2 in terms of song structure and music arrangement.

The song opens with a synthetic sound in the background in unplugged on which Himesh – the singer tries a different non-nasal approach in a shairiyana andaz with 'restrained' middle octave vocals.

He also touches the borderline of lower octave with lines REHNE DO * 2 from 0.38 to 0.42

The female chorus (with feel factor) along with 1 beat hits from 0.45 onwards suddenly lift the tempo of the song which is in full form from 0.57 onwards.

The faint bazz tune sur at 1.09 (higher) and 1.16 (lower) is of great cause.

Himesh's lines, YAARA SACH KEHNA (off-da-hook fulltu high-pitched desperation emphasis) from 1.21 to 1.23, 1.28 to 1.31 & 1.55 to 1.56

His pronciation of line JHUTT-A is typical of the Jammu Punjabi style.

The raw dhol beats from 1.33 to 1.37 & 1.58 to 2.03 give a wedding type setting.

The fast tabla beats followed by 3 heavy hits from 1.39 to 1.42 & 2.04 to 2.07 give sahi desired effect.

The beats from 1.43 & 2.09 onwards have urgency in them.

The whole mukhda lines are very well structured in terms of conveying the emotions with lyrics.

Between mukhda & 1st stanza, a shehnayi piece plays from 2.21 to 2.29 followed by female chorus with feel factor from 2.30 to 2.48

1st stanza

Shreya sings with her innocently sweet melodious vocals and the female chorus enhance the overall melodious feel effect especially from 3.02 to 3.30

Himesh's catchy middle octave lines from 3.07 to 3.16 remind of the great Ataula Khan and strike an emotional chord, especially the lines

Himesh's catchy middle octave lines, TENU IS DIL ME BASAWA TERE NAAL PYAAR NIBHAWA TERE SAB NAAZ UTHAWA CHAHE MIT JAWA MEIN MAR JAWA from 3.07 to 3.16, with emphasis on PYAAR (emphasis twist) and NAAZ (emphasis twist) strike an emotional chord and have the KASHISH of the vocals of the great ATAULLAH KHAN (who sung great songs like WAFADARA SAI).

Himesh's sudden high pitch lines, TERE SANG NAHI CHOR NA (awesome desperation plea vocals) from 3.17 to 3.21

Between 1st & 2nd stanza, the female chorus with emotional feel return from 3.45 to 3.54 & 4.04 to 4.12 followed by shehnayi piece from 3.55 to 4.03 and bazz trumpet from 4.13 to 4.21

2nd stanza

Shreya sings with her innocently sweet melodious vocals and the female chorus enhance the overall melodious feel effect especially from 4.45 to 4.46

Himesh's catchy middle octave lines lines, TUJHPE JAAN LUTAWA TERE LIYE DUNIYA BHULAWA TAI KIYA TUJHKO HI PAWA IK DIN TUJH KO LE JAWA from 4.50 to 4.59 strike an emotional chord and have the KASHISH of the vocals of the great ATAULLAH KHAN (who sung great songs like WAFADARA SAI).

Himesh's sudden high pitch lines, TERE SANG NAHI CHOR NA (awesome desperation plea vocals) from 5.00 to 5.04

Shreya sings the mukhda lines but adapts a lower pitch with feel factor from 5.30 to 5.34, but quickly returns to her high pitch from 5.34 to 5.42 to assure Himesh that he has not lost his girl to someone else.

Himesh's lines, OH YAARA DIL NA TOD NA * 2 from 5.52 to 6.01 depict an awesome emotional desperation plea.

Highlights of this song:

1. Himesh's desperation feel vocals with emotional plea, shreya's innocently melodious vocals and female chorus with feel factor.

2. The underlying beats with urgency in them, the fast tabla beats followed by 3 beat hits to give sahi desired effect and the shehnayi tune.

The USP of this song is that it is a 'well structured' composition with thoughtful relevant lyrics and Himesh's catchy middle octave lines in both stanzas from 3.07 to 3.16 & 4.50 to 4.59

The hinderance is its 'messy - too many cooks spoil the broth' music arrangement to an extent, which is smoothed out in its remix version to form a free-flowing number.

Tanhaiyaan

Himesh goes full throated in max high pitch to express his Tanhaiyaan and in doing so, he tries to sing this line in all possible ways to express, depict n convey the desperation feel due to separation.

Himesh's line, EEEEEE (quick twist) from 0.12 is 0.13 (followed by echo-effect) is very much household sufi rwak style.

Himesh's line, TAN (computerized voice) haiyaan at 0.15, tan-HAAI-yaan * 2 echo effect (terrific raw deep throated vocals with ghehrayi and vocal depth) from 0.31 to 0.3, tanhaiyAAAAN (purposeful down twist) from 0.29 to 0.30

Himesh's line, TERE BAGAIR (with echo effect) 0.42 to 0.47 is HISTORY in terms of melody.

The 3rd echo of tan HAAAI (HISTORY) yaan at 1.00...uffffffff...emphasis on the raw HAAI

The build-up process thus far is fantastic until OFF-DA-HOOK raw drums hit pattern in random style from 1.00 to 1.03 give sahi desired effect and get the song underway / rolling.

The underlying rhythmic beat from 1.03 onwards is rwaking and it skips itself in latter ending part of the regular beat pattern.

The synthetic bazz sound from 1.04 to 1.07 is a great company and sets the tone.

Himesh's line, tanhaiYAAAN (deliberate arrogant feel vocals) at 1.23, tanhaiYAAAN (feel twist) from 1.31 to 1.32

Off-da-hook raw drum hit pattern from 1.34 to 1.36 gives sahi desired effect.

Between mukhda & 1st stanza, the AAP KA SUROOR signature tune piece returns from 1.36 onwards along with continuous bazz tune sur from 1.38 to 1.45 which builds sike in the manner in which it descends and then again rises. Himesh also gives Sunithi full liberty to also express herself with her lines TANHAI (abrupt voice drop) YAAN (vocal deepening) from from 1.52 to 1.53

1st stanza

Himesh's lines,  KEEEE (passionate feel) at 1.57, MEEE (passionate feel) at 1.59

Sunithi's subtle vocals also make an impact.

The descending violin pattern from 2.23 to 2.24 of great cause.

The female vocals behind Sunidhi's vocals from 2.26 to 2.29 sing with utter feel.

Sunithi's line, HAR GHADI (awesome desperation feel) from 2.32 to 2.33 is similar to Himesh's line TU AARZOO (awesome desperation feel) from 2.58 to 3.00 in WOH LAMHA PHIR SE JEENA HAI from KAJRAARE.

Himesh's line, SAHI KHUSHIYAAN (terrific singing) at 2.39

Between 1st & 2nd stanza, the female vocals pour out some elements of dard and ehsaas along with sunithi's full throated vocals from 3.03 to 3.21 followed by lovely passionate intense violin piece from 3.22 to 3.31

2nd stanza

Himesh's lines, BIN TERE JEENA TOH (awesome passionate feel emphasis) from 3.31 to 3.35, BE (OFF DA HOOK FULLTU high pitch) MATLAB from 3.36 to 3.37

Sunithi's feel good subtle vocals are likeable.

The descending violin pattern from 3.59 to 4.00 is of great cause.

The female vocals behind Sunithi's vocals from 4.01 to 4.04 sing with utter feel.

Sunithi's line, CHAAHAT HAI (awesome desperation feel) from 4.08 to 4.09 is similar to Himesh's line TU AARZOO (awesome desperation feel) from 2.58 to 3.00 in WOH LAMHA PHIR SE JEENA HAI from KAJRAARE.

Himesh's line, SAHI KHUSHIYAAN (terrific sining) at 4.15

Himesh finishes the song with his OOOOOO in signature AKS style along with theme piece followed by sunithi's vocals that get penetrating on the listener to make an impact.

Highlights of this song:

1. Himesh's vocals with feel and passion...emphasis on TERE BAGAIR (history), 3rd RAW echo of line tan-HAAI-yaan at 1.00, KHUSHIYA (terrific), the emphasis and twists in lines TANHAIYAAN (along with computerized part).

2. Sunithi's vocals that are a mixture of full-throated rendering on line TANHAIYAAN and subtle feel in stanzas.

3. The underlying mast kickass rhythmic beats, synthetic bazz sound at start, off-da-hook drum hit pattern, continuous rising descending bazz tune piece in between 1st stanza gap, passionate intense violin piece in between 2nd stanza gap and descending violin tune sur in both stanzas.

This is the BEST song of the album, primarily due to the SUPERIOR CATCHY melody (than tera mera milna and tere bina) throughout the song.

This is a song with mix of SIKE (in terms of audio-visuals) and PASSIONATE FEEL (in terms of singing).

Tanhaiyaan (Music Video)

This is where it all began for Himesh - the actor

The BEST song of da album.

BEST melody is Himesh's line TERE BAGAIR (HISTORY typical unique HR melody) from 0.40 to 0.44 & 1.13 to 1.17

Himesh pours his heart out in his line TANHAI - YAAAAN (HISTORY fulltu high pitched repetitive echo vocals) from 0.27 to 0.30, 0.56 to 0.59 & 1.30 to 1.33.

Audio-visuals strike a chord, especially the parts:

> when Himesh is leaning besides his metalic blue car besides the lake along with off-da-hook fast camera angle that rotates sideways from 0.57 to 0.59 along with off-da-hook drum hits

> the reverse spin alloy rims when Himesh is driving the car on scenic pathway from 1.00 to 1.04 along with full underlying rhythmic beats and bazz metal guitar to build sike

> the close up rotational camera on Himesh when he is sitting on the bench in some uljhi wi gambhir soch from 1.05 to 1.07

> the firangi girl waving her hands on the merry go swing from 1.09 to 1.11

> the camera that closes in as Himesh walks in his macho style from 1.11 to 1.13

> when Himesh looks down in a subdued way and turns around from 1.16 to 1.20

> when the camera focus changes from the girl in shades on the bridge who walks away and towards Himesh who just looks at her from 1.27 to 1.33

> after that, the video showcases all about da euphoria and greatness of da rwakstar who was about to turn into an actor

All in all, top notch cinematography with off-da-hook rotational zooming camera angles.

what can a guy do if girl walks away from him with attitude as he looks

Ya Ali

Sunithi starts on a groovy note with lines YA ALI.

A new age instrument plays from 0.22 to 0.30 followed by a groovy ambient tune from 0.31 to 0.39

The cult synthetic guitar pattern in between 0.38 to 0.44 is great build up.

From 0.47 onwards, the lively GROOVY RETRO new-age beats with a heavy dose of BAZZ sound kicks in.

From 1.03 to 1.15, Sunithi's heavy vocals on repetitive lines YA ALI are mesmerizing.

The tune at 1.20 to 1.24 provides great intermittent effect.

Himesh's line, TANHIYOON ME (ustad style intense emphasis) from 1.29 to 1.30

Himesh's vocals on repetitive lines YA ALI from 1.37 to 1.45 sound very ALIENISH and can actually establish a link with them [fun intended].

Between mukhda & 1st stanza, the likeable tune pattern along with underlying groovy retro beats play.

1st stanza

Himesh's line, SI-YL (emphasis) -SILA from 2.03 t0 2.04

Himesh chants slogans (naare baazi) from 2.06 to 2.22, with emphasis on HAI (abrupt slogan leave) at 2.13 & 2.22, TAN-HAIO (emphasis) -ME from 2.20 to 2.21

Himesh's line AE DILE JAANNNN (LOWER OCTAVE) from 2.23 to 2.26 is followed by wholehearted croons by Sunithi.

Himesh croons with Alienish vocals from 2.42 to 2.49

Between 1st & 2nd stanza, the new age synthetic instruments are awesome, especially the heavy hits from 2.50 to 2.57 and off-da-hook quick repetitive techno sound from 2.53 to 2.54, 2.57 to 2.58, 3.01 to 3.02 & 3.05 to 3.06

2nd stanza

Himesh's line SISAKTI, (sung with punch) from 3.24 to 3.25, PAA-NA (abrupt slogan leave) from 3.34 to 3.35 & BHULAA-NA from 3.42 to 3.43

Himesh's line AE DILE JAANNNN, (LOWER OCTAVE) from 3.45 to 3.48 is followed by wholehearted croons by Sunithi.

Himesh sings with Alienish vocals from 3.59 till end, and note how SMOOTHLY Sunithi takes over from him in the end, amazing transition between the two vocals without any change in scale!

Highlights of this song:

1. Himesh's ALIENISH vocals on repetitive lines YA ALI, LOWER OCTAVE on lines AE DILE JAAN and Sufi Rwak emphasis slogans in stanzas.

2. Sunithi chauhan's heavy vocals.

3. The lively underlying groovy retro beat with a heavy dose of bazz sound.

4. Cult synthetic guitar piece, groovy tune and new age sounds.

5. Great showcase of synthetic techno instruments in between 1st & 2nd stanza

This song is very modern contemporary in nature which gets da listener into an ambient state of trance, whereby da mind wanders at an unknown mid-point journey somewhere in between sanity and extacy.

Tere Bina

The song begins with haunting male vocals followed by signature AKS tag line in middle octave.

The signature AKS tune piece plays from 0.32 onwards along with subtle well paced beats whose tempo suits the feel of the song.

Himesh softens his middle octave vocals chord and gets the feel factor out to the max.

The subtle female croons behind his vocals strike a chord and compliment the desperation feel.

Himesh's line DINA-AAAAAA (prolonged up down) from 1.12 to 1.14

The lines TERE BINA are déjà-vu and follow a fixed formula of repetitive catchy hooks.

Himesh's lines BINA (desperation twist) at 1.15, 1.18, 1.27, 1.30, 1.32, 1.51, 1.54 & 1.56

Himesh goes forceful to depict the pain from 1.38 to 1.45

Between mukhda & 1st stanza, the AKS signature piece is back followed by male haunt vocals.

1st stanza

Himesh's middle octave lines DIYA-AAA (feel twist, halke se kick), JIGAR-RRRR (low feel twist, complete effect)), HUWA-AAA (feel twist, halke se twist).

Between 1st & 2nd stanza, the AKS signature theme piece is back.

2nd stanza

Himesh's middle octave lines MAI-III (feel twist, halke se kick), KHUDA-AAAA (low feel twist, complete effect), SADA-AAA (feel twist, halke se twist).

Himesh's line, VIRAANIYON (soothing feel) from 4.05 to 4.06

The song finishes with the extended AKS theme piece.

Highlights of this song:

1. Himesh's middle octave vocals with soothing feel.

2. The subtle female vocals that strike a chord and haunt male vocals that depict desperation.

3. The tempo of the subtle beat and the AKS signature tune piece.

Kya Jeena

This is VAADA TENU (AAP KA SUROOR) Version 2 and all those who swear by vaada tenu will lap this in an instance.

This song belongs to indian semi-classical setting in which himesh reshammiya becomes 'ustad' himesh reshammiya.

Himesh conveys good emotions via his desperation feel emphasis vocals of tadap and ehsaas.

Himesh's opening unplugged line, TU HAI JAISE from start to 0.04 is similar in tune pattern to line YUN TOH MILENGE from 3.44 to 3.47

The harmonica theme piece plays from 0.26 to 0.49

The underlying beats are the simple 1 beat along with tabla pattern, which is representative of the tabla beat pattern from 1.46 to 2.30

Jayesh's croons from 0.49 to 1.00 along with intermittent harmonium piece enhance the semi classical feel of this song.

Jayesh's alaaps from 1.02 to 1.03, 1.05 to 1.06 & 1.36 to 1.36 are of good cause.

Himesh sings his mukhda part in middle octave vocals.

Himesh's line, BAGAIEEEE(prolonged)-EEER (good twist) from 1.23 to 1.24 & 1.41 to 1.42 & 1.58 to 1.59

The fast-paced tabla beats from 1.34 to 1.36 & 1.52 to 1.53 give sahi desired effect.

Himesh's line MERA (awesome gradual low twist) from 2.00 to 2.02

Between mukhda & 1st stanza, Jayesh's returns with his classical croons followed by harmonica theme piece.

1st stanza

Himesh begins on super high notes, JAB SE (off-da-hook high pitch emphasis) from 2.41 to 2.42, TUUUU (off-da-hook high pitched emphasis) from 2.46 to 2.47

Himesh's line, HAAI (awesome feel twist) from 2.50 to 2.51

Himesh's middle octave lines from 2.51 to 3.03 form core melody of stanza with emphasis on DIKH-TAAAA (great twist) HUUN from 2.54 to 2.56, LIKH-TAAAA (great twist) HUUN from 3.00 to 3.02

Jayesh supports Himesh well in his cause from 3.04 to 3.10, with emphasis on line REE (profound classical twist) at 3.08

Between 1st & 2nd stanza, a string based raga instrument (not tune pattern) plays that was also used from 2.05 to 2.20 in TERE HI LIYE from MR.FRAUD followed by Jayesh's classical croons, with emphasis from 3.54 to 3.56

2nd stanza

Himesh begins on super high notes, TUJH SE LAGI (off-da-hook high pitch emphasis) from 3.57 to 3.59, BAS TUJH KO HI (off-da-hook high pitched emphasis) from 4.03 to 4.05

Himesh's line, MANN (awesome feel twist) from 4.06 to 4.07

Himesh's middle octave lines from 4.07 to 3.03 form core melody of stanza with emphasis on DEE-WAAAA (great twist) NAPAN from 4.10 to 4.12, JEE-VAAAA (great twist) NN from 4.17 to 4.19

Jayesh supports Himesh well in his cause from 4.20 to 4.26

The song ends with the harmonium piece.

Highlights of this song:

1. Himesh's desperation feel emphasis vocals with tadap and ehsaas.

2. Jayesh's accompanying classical croons to compliment himesh.

3. The underlying 1 bit beat and tabla pattern.

4. Harmonica theme piece, harmonium piece, fast-paced tabla beats for sahi desired effect and the raga instrument between 2nd stanza gap.

Kya jeena belongs in the same indian classical genre such as dil ne yeh na jaana – Red DIL NE YEH NA JAANA (RED-THE DARK SIDE), DHOOM TERE ISHQ KI & TERE BIN CHAIN NA AAVE (KARZZZZ) and VAADA TENU (AAP KA SUROOR).

Tanhaiyaan Unplugged

From 1.01 onwards, a bazz guitar plays along with subtle tabla beat pattern and then Sunithi Chauhan's vocals just blow away the listener.

Himesh asks her to sing with ALTO vocals.

She sings with suble feel from 1.07 to 1.16

Her line, TEEEE (terrific high note penetration) RE BAAAGAIR from 1.16 to 1.19

Himesh's croons, TERE BAGAIR from 1.19 to 1.20 in the background gives a HISTORY overall feel.

From 1.21 to 1.30, himesh gets sunithi to croon TAHNAIYAAN with all possible variations in her deep penetrating vocals with HISTORY results.

Sunithi's line TANHAIIIIII (prolonged gradually rising and descending) IIIIIIIYAAN from 1.30 to 1.36 depicts HISTORY desperation feel.

From 1.53 to end, the mighty female voice fully expresses itself.

Highlights of this song:

1. Sunithi's terrific DEEP PENETRATING vocals.

2. Her lines TERE BAGAIR and TANHAIYAAN sung in all possible ways.

3. Bazz instrument and subtle tabla beat pattern.

It is a pity that there was no full unplugged version of this song and that it wasn't used in the movie, or else history ke upar history ho jaati.

Mehbooba

Himeshji agar NAUGHTY ho jaaye toh KATU KATU bhi kar sakte hain :) LOVE BITE :P from 3.14 to 3.15 rite at da end. Himesh's facial expression looks cute on the prolonged alaap UUUUUUU from 1.01 to 1.02 :) Mallika Sherawat rwak coz she agreed to work with Himesh when other veteran seasoned actresses were having reservations n apprehensions about it. The song is based on KABEELA backdrop setting. 

Tera Mera Milna - Gujarati

The female singer sings with awesome HAUNT FEEL vocals and her singing style drives the listener BERSERK especially if they don't fully understand Gujarati but still enough to get the hang of basically what she is saying, along with Hansika Motwani's cute facial expressions n body language. Her standout lines are AAS-MAAAN (TERRIFIC desperation plea twist) from 3.03 to 3.04 in 1st stanza.  The female singer sings with awesome HAUNT FEEL vocals and her singing style drives the listener BERSERK especially if they don't fully understand Gujarati but still enough to get the hang of basically what she is saying, along with Hansika Motwani's cute facial expressions n body language. Her standout lines are AAS-MAAAN (TERRIFIC desperation plea twist) from 3.03 to 3.04 in 1st stanza.

Tera Mera Milna - Marathi

prolonged majestic twist by the male singer from 3:08 to 313 & 4:56 to 5:00

Tera Mera Milna - Tamil

Tera Mera Milna was one of the rare Himesh songs that was recorded in different regional languages i.e. Tamil, Marathi, Gujarati. In this Tamil version, what a singing by the male singer from 4:40 to 4:46 on catchy composition notes by Himesh.

Jhoot Nahi Bolna Saregamapa



It is commendable for such a young kid to attempt such a difficult song of Himesh, the starting 'shayaraana Nazm' Apni Zulfon Mein Meri Unglian Rehne Do...from 0:13 onwards is not easy to sing in lower octave with thehraav. Also, the song has long pathos with little time to breath in between so its difficult to sing it live in one stretch, and also sudden pitch changes from low pitch stanza line, Tere Saare Naaz Uthawa, Chahe Mit Jawa Mar Jawa at 2:55 to sudden high pitch, Tere Sangh Nahi Chorna at 3:00...sur aasani se bhikar sakta hai.

Jaaneman Himesh Live



Himesh says at start 'aur aaj me apna fav gaana gale se gaa deta hu', meaning that Jaaneman was his personal favorite pick from Radio album!!...and then, what singing by Himesh from 0:05 on the mukhda hook line, JAA (off-da-hook profound twist) NEE (off-da-hook profound twist) MAN (off-da-hook profound twist)...JAANEMAN (completeness effect) which is one of catchiest portions of album...along with lovely wave like hand movement, even tabla waala sitting in background shakes his head at 0:13 as if to say 'waah, what a melody'

My Picks

1. Tanhaiyaan (both full & unplugged).

Tanhaiyaan

Underlying beat from 1.02 onwards has a rhythmic skip pattern. Himesh's BEST MUKHDA LINES are TERE BAGAIR * 2 (HISTORY typical unique HR melody) from 0.42 to 0.47 & 1.16 to 1.20, and TANHAII (HISTORY casual raw desperation plea vocals with echo effect) YAAN from 1.00 to 1.02 along with OFF-DA-HOOK drum hit pattern. The continuous gradually descending / rising bazz trumpet tune pattern in between 1st stanza gap from 1.37 to 1.55 along with AKS signature theme piece builds up sike. Himesh's line, SAHI KHUSHIYAAN (terrific singing) from 2.38 to 2.39 & 4.14 to 4.16. Himesh's line in 2nd stanza, BIN TERE JEENA TOH (passionate vocals) from 3.31 to 3.36, BE (OFF-DA-HOOK fulltu high-pitched) MATLAB from 3.36 to 3.37

Tanhaiyaan Unplugged

Himesh's line, TERE BAGAIR (HISTORY vocals) from 1.18 to 1.20 strikes a chord, connects big time and gives pinching sensation (chubban ka ehsaas) in its overall timing with regards to Sunithi's whole hearted croons.

2. Tera Mera Milna.

The rhythmic orchestration of TERA MERA MILNA is FRESH / TAAZA / CRISP and the vocals have a large empty auditorium echo effect. It is a song rich in melody, especially the stanzas. Himesh's line, MEINN (terrific emphasis vocals that give jazba) from 2.44 to 2.45 & 4.51 to 4.52, Himesh's line, DIL KI ANJUMAN MEIN TUM from 4.45 to 4.48 in 2nd stanza konnekts with the listener, Himesh's vocals have KASHISH in line MEINNN from 3.08 to 3.09 & 4.55 to 4.56, Himesh's line, MEIN-NNNNN (OFF-DA-HOOK quick prolonged twist with OFF-DA-HOOK echo effect, which is baap of all Sufi Rwak twists) from 3.09 to 3.10 & 4.56 to 4.59 as if a snail or caterpillar is uncoiling itself quickly, Shreya also sings her part beautifully with melodious HAUNT FEEL vocals, with stand out lines JODI SAB KI MILAAYE RAB JODIYAAN BANAYE AASMANO MEIN from 2.58 to 3.05, MILNA-AAAA (melodious intense haunt feel twist) from 3.18 to 3.19 & 3.22 to 3.23
The reason TERA MERA MILNA is ranked second behind TANHAIYAAN is coz of Himesh's lines, TERE BAGAIR * 2 (HISTORY typical unique HR melody) 0.41 to 0.47 & 1.16 to 1.20, TANHAAIYAAN (HISTORY desperation plea vocals with repetitive echo effect) from 0.57 to 1.02 & 1.33 to 1.35

The rhythmic orchestration of TERA MERA MILNA is FRESH / TAAZA / CRISP and the vocals have a large empty auditorium echo effect. It is a song rich in melody, especially the stanzas. Himesh's line, MEINN (terrific emphasis singing that gives SIKE/JAZBA) from 2.44 to 2.45 & 4.51 to 4.53, Himesh's line, DIL KI ANJUMAN MEIN TUM from 4.45 to 4.48 in 2nd stanza konnekts with the listener, Himesh's vocals have KASHISH in line MEINNN from 3.08 to 3.09 & 4.55 to 4.56, Himesh's line, MEIN-NNNNN (OFF-DA-HOOK quick prolonged twist with OFF-DA-HOOK echo effect, which is baap of all Sufi Rwak twists) from 3.09 to 3.10 & 4.56 to 4.59 as if a snail or caterpillar is uncoiling itself quickly. Shreya also sings her part beautifully with melodious HAUNT FEEL vocals, with stand out lines JODI SAB KI MILAAYE RAB JODIYAAN BANAYE AASMANO MEIN from 2.58 to 3.05, MILNA-AAAA (melodious intense haunt feel twist) from 3.18 to 3.19 & 3.22 to 3.23 in 1st stanza. Jayesh pours his heart out in intermittent soulful croons from 2.36 to 2.38 in 1st stanza, and from 4.44 to 4.46 in 2nd stanza which bowl over the listener. Off-da-hook catchy soulful croons by Jayesh Gandhi from 2.36 to 2.38 & 4.44 to 4.46 whereby he pours his heart out.

The reason TERA MERA MILNA is ranked second behind TANHAIYAAN is because of Himesh's lines, TERE BAGAIR * 2 (HISTORY typical unique HR melody with echo effect) from 0.41 to 0.47 & 1.16 to 1.20, TANHAAIYAAN (HISTORY desperation plea VOCAL KILL effect with repetitive echo effect) from 0.57 to 1.02 & 1.33 to 1.35 followed by OFF-DA-HOOK drum hit pattern. 

3. Ya Ali

Himesh's high pitched singing, Sunithi's husky vocals at low range n thumping accelerating orchestration, takes the listener into the imagination of pristine rugged location far away from the city whereby there are mountainous cliff ridges on one side and crystal clean ocean on the other side, n in between these, the listener is cruising his Porsche in the middle of the long wide empty freeway with reverse spin alloy rims at dusk/sunset. Listening to this song takes the listener into an unexplored part of world, and almost like in the middle of nowhere whereby there are dead ends on both sides of the road, n state of trance.

Underlying beat is rwakin livewire with solid dose of upbeat vibrant bazz sound. Stanzas have Himesh's Sufi Rwak naarebaazi slogan based singing. Himesh's line, AE DILE JAAN (terrific prolonged lower bazz octave feel twist) from 2.23 to 2.26 & 3.45 to 3.48



Song has Rwakin Electro House Mix Beat along with groovy ambient instruments, cutie Hansika Motwani just sways gently sideways but hottie Mallika Sherawat really grooves full on to showcase her dance moves. Himesh's repetitive mukhda hook line Dillagi, Lagi, Lagi, Lagi. Lagi...sounds quite catchy (let listeners only decide which hook is catchier in his voice...Ya Ali, Ali, Ali, Ali...or Dillagi, Lagi, Lagi, Lagi. Lagi). The video version sounds catchier than audio version, because scale of song is higher in video version and Himesh's repetitive mukhda hook Dillagi (distant echo effect) sounds catchier than Ya Ali (Alienish vocals).

4. Tere Bina & Kya Jeena (tie)

Kya Jeena

BEST PART of song is Himesh's lines, JAB SE (OFF-DA-HOOK fulltu high-pitched) from 2.41 to 2.42, TUUU (OFF-DA-HOOK fulltu high-pitched) from 2.46 to 2.47 in 1st stanza, and TUJH SE (OFF-DA-HOOK fulltu high-pitched) from 3.57 to 3.58, BAS TUJH (OFF-DA-HOOK fulltu high-pitched) from 4.03 to 4.04

5. Jhoot Nahi Bolna.

BEST PART in song is Himesh's line YAARA SACH KEHNA (off-da-hook fulltu high-pitched desperation emphasis) from 1.21 to 1.23, 1.28 to 1.31 & 1.55 to 1.56 and Himesh's catchy middle octave lines from 3.07 to 3.16 & 4.50 to 4.59 that remind of the great Ataula Khan and strike an emotional chord, especially the lines PYAAR (emphasis feel twist) from 3.10 to 3.11 and NAAZ (emphasis feel twist) from 3.12 to 3.13 whereby he pours his heart out

Kya Jeena

BEST PART in song is Himesh's lines JAB SE (off-da-hook high pitch emphasis) from 2.41 to 2.42 & TUUUU (off-da-hook high pitched emphasis) from 2.46 to 2.47 in 1st stanza, and Himesh's lines TUJH SE LAGI (off-da-hook high pitch emphasis) from 3.57 to 3.59 & BAS TUJH KO HI (off-da-hook high pitched emphasis) from 4.03 to 4.05 in 2nd stanza.

6. Mohtarma.

7. Mehbooba.

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