36_china_town

Music review analysis of Himesh Reshammiya's album 36 China Town (2006).

Aashiqui Meri

Himesh sings this song in his nazal middle octave vocals.

The starting new age instruments that play from 0.00 to 0.06 give a grand effect.

The female vocals 'loudly whispering' the words 'china town' give a chill pill.

From 0.09 to 0.21, the CULT trend-setting raga tune is modified in a modernly westernized contemporary way rather than indian classical. A similar version of this raaga tune (albeit in a different pattern) from 0.43 to 0.53 in DIL TOH UDNE LAGA from TUM - A DANGEROUS OBSESSION.

The underlying beats are very laidback yet trendy an they are accompanied with a bazz effect pattern representative of constant VOLTAGE fluctuation.

The Arabic instrument (not the tune pattern) from 0.41 to 0.51 was also similarly used from 0.19 to 0.41 in I LOVE U 4 WHAT U R from AAP KI KHATIR and from 0.48 to 0.54 in NO WAY from ANTHONY KAUN HAI.

The tune in lines aaaAAN aaANN aashiqui me teri jaaN jaaN jayegi jaan meri is simple yet very catchy.

From 1.09 to 1.10, MERI (emphasis vocals).

Himesh's lines, DE DE DIL CHINA TOWN MEIN * 2 (terrific sharp knife edge vocals that strike a chord) from 1.13 to 1.18

From 1.32 to 1.42, Himesh returns to his old antics/habits (sufi-rwak nazal twang).

At 1.54, MERIIII (emphasis dying effect vocals)

Between mukhda & 1st stanza, the female modulated chorus enhances the groovy nature of the song.

1st stanza

Composition pattern is simple yet catchy.

At 2.31, PEEE (quick feel good twist).

From 2.38 to 2.40, TU MERI SANSEIN HAIN (listener feels the jasba/passion).

Sunithi's voice is modulated to compliment the pitch/sur/scale of Himesh's middle octave vocals.

Between 1st & 2nd stanza, a feelgood harmonica tune plays followed by bazz trumpet to good effect.

2nd stanza

Sunithi's computerized modulated vocals give a likeable dodgy mysterious effect just as the name of the album suggests.

Himesh's line, AAN AAN (ubber rwakin nazal twang) from 4.01 to 4.02

From 4.22 onwards, the groovy female vocals are catchy.

The song ends with the grand groovy manner in which it started, giving it an international feel.

Optimistically saying, deep down in their inner conscience, this is the most rarely liked Himesh 'composed n sung' song amongst Himesh's haters, especially the catchy mukhda lines AAN AAN JAA JAA because they have modern sensibility and very hummable.

Highlights of this song:

1. Himesh's sharp knife edge vocals.

2. Trendy contemporary new-age orchestration, instruments and beats.

3. Sunithi's modulated voice - a rare experiment.

4. Modulated female chorus and female loud whisper (china town) in between the whole song.

24/7 I Think Of U

The song starts on a bright note with a feel good guitar riffs in semi plugged 1 bit mode, as if the listener woke up on a fresh morning with dew on grass and scent of petals.

The catch phrase 24/7 I THINK OF YOU is simple yet catchy. It is simple melody at its best!

The build up of the raw beats is tremendous from 0.26 onwards with a profound bazz sound and feel good male croons.

The main beat kicks in from 0.45 onwards and gets the listener into da groove.

The catchy hook returns and the good thing with this English phrase is that it is not meaningless but rather makes sense in the overall context of the Hindi lines and therefore, they are great innovative lyrics.

Sunithi's line RAAT (feel good twist) from 1.21 to 1.22, 1.23 to 1.24 & 1.49 to 1.50 is very typical of the pre-ABA himesh.

Once again, the English phrase is catchy from 1.37 to 1.45 &1.53 to 2.02

Sunithi's line dil me TUUUUUUU (terrific prolonged nazal emphasis) from 1.52 to 1.53 comes from Himesh's Sufi-Rwak school of singing.

Between mukhda & 1st stanza, the male vocals HEY YA * 4 from 2.02 to 2.09 were also used in ZARA JHOOM JHOOM from TOM DICK N HARRY in between 0.12 & 0.17. This is followed by feel good female vocals and a groovy flute piece. The bazz sound in unplugged mode from 2.24 to 2.28 has good impact.

1st stanza

The raw beat effect from 2.30 to 2.31 gives perfect kick start to Shaan's vocals.

The composition is feel good melody backed up by feel good vocals.

Shaan's feel good lines ZEHEN MEIN TU from 3.10 to 3.12 are likeable.

Between 1st & 2nd stanza, a feel good tune along with Arabian instrument plays. The bazz sound in unplugged mode from 3.39 to 3.43 has good impact.

2nd stanza

The raw beat effect from 3.44 to 3.45 gives perfect kick start to Shaan's vocals.

The composition is feel good melody backed up by feel good vocals.

Sunithi's line HAAAI (feel good up down twist) from 3.54 to 3.56

The song ends with African-ish vocals.

Highlights of this song:

1. The catchy phrase 24/7 I think of you (in all vocals & all pitches) along with foot tapping underlying beats that get the listener involved.

2. Shaan's feel good vocals that remind of all his earlier pre-ABA item numbers with Himesh, hence he is the justified choice for such a song.

3. Sunithi Chauhan at her vintage best as she is tailor-made for the song or rather the song is custom-made for her.

4. The raw beat effect to commence the stanza vocals, the bazz sound in unplugged mode 24/7, interesting mix of Arabic element, and ZARA JHOOM JHOOM styled male vocals HEY YA.

5. Fresh meaningful and feel good lyrics.

Shaan and KK will never talk against Himesh, because firstly they are not jealous human beings and more importantly they have a long association and always been a favoured choice with Himesh.

Dil Tumhare Bina

This is one of Himesh Reshammiya’s BEST EVER sung n composed songs.

This killer song begins with passionate violin piece in unplugged mode, with emphasis from 0.09 to 0.10 (awesome desperation feel, wow…instruments too can depict feelings!) actually misleads the listener as to what is to unfold, re the tempo of the song.

Himesh croons whole heartedly and fully expresses his inner feelings with full/deep throated vocals with andhar ki gehrayi from 0.15 to 0.24, with emphasis on line TANH-AAAAAA (HISTORY prolonged desperation with raw vocal texture) from 0.16 to 0.19

From 0.25 onwards, the listener realizes this song's genre which is very contemporary with a retro beat feel.

The rhythmic semi-plugged beat along with rwakin catchy fluctuating bazz sound from 0.24 to 0.33 build up sike and get da listener into da zone.

The vibrant high-on-energy English male croons 'rock your body shake shake' from 0.34 onwards enhance the song's tempo.

The full underlying rhythmic beats hit it from 0.41 onwards.

Himesh’s lines, JAA –AA – AA- YEE (awesome 4 step descending notes) from 0.54 to 0.57 & 1.21 to 1.23

OFF-DA-HOOK random drum hit pattern from 0.57 to 0.59, 1.24 to 1.26 & 1.50 to 1.53 gives sahi desired effect and kick.

Himesh’s line, AB (OFF-DA-HOOK fulltu high pitched vocals) at 1.15, TANHA-AAAAAA (OFF-DA-HOOK prolonged whole hearted desperation feel croon) from 1.16 to 1.20

After being Himesh’s first preferred melodious female voice in pre-ABA era, Alka Yagnik (who is now a rarity in his post-ABA sound) makes a special appearance.  

Alka’s line, TUM – HAREEE (terrific desperation plea up twist, striking melody) from 1.34 to 1.35, AB (awesome halke se feel) at 1.42, TANHAAAAAAA (terrific prolonged melodious subtle ‘low/alto’ feel vocals) from 1.43 to 1.46, followed by OFF-DA-HOOK random drum hit pattern from 1.50 to 1.52 that gives sahi desired effect.

Between mukhda & 1st stanza, the continuous extended catchy new age contemporary tune piece from 1.57 to 2.13 gives TREMENDOUS KICK along with rwakin contonuous bazz sound that comes to da party from 2.01 onwards to build JAZBA. The passionate feel violin piece returns from 2.13 to 2.18 along with rwakin fluctuating bazz sound that makes its presence felt from 2.13 to 2.19 in unplugged mode. Himesh is known to play with and catch da listener's pulse using his instruments. As soon as the off-da-hook catchy contemporary aggressive tune piece that gives JAZBA/KICK stops with echo effect and is suddenly merged with the passionate FEEL violin piece in unplugged mode, this is some 'superb programming' from 2.12 to 2.13, whereby its a roller coaster ride for da listener in terms of two extreme contrasting emotions i.e. JAZBA / KICK followed suddenly by FEEL. Off-da-hook drum pattern just HITS IT from 2.18 to 2.21 as if da musician is testing out his instruments.

In stanzas, Himesh literally pours his heart out and is complimented well by Jayesh Gandhi's intermittent high-pitched desperation pleaalaaps.

1st stanza

Himesh’s line, BE (OFF-DA-HOOK fulltu middle octave impact vocals) KARARI at 2.21, BETAA – (terrific quick profound desperation feel twist) from 2.25 to 2.26

Himesh POURS HIS HEART OUT with his HALKE SE DESPERATION PLEA vocals in lines, BADI HAAAAAI from 2.23 to 2.24, BETABIYAAN HAAAAIN from 2.27 to 2.28, PE HAAAIN from 2.39 to 2.40, TASVEER TERIIIII from 2.43 to 2.45

Jayesh Gandhi’s intermittent high pitched desperation plea croons help to enhance the desperation feel.

Himesh’s line, DEEWA (awesome desperation feel twist) RO from 2.38 to 2.39, TASVEE (awesome desperation feel twist, middle octave impact) ER from 2.42 to 2.43

The majestic passionate feel violin piece from 2.40 to 2.41 (normal note), from 2.44 to 2.45 (higher note) gives terrific tune sur to Himesh’s middle octave vocals.

Himesh’s lines, IN FAASLO MEIN (incredible melody notes that get listeners into da zone) from 2.29 to 2.31, TERI YAAD JAANA (incredible melody notes that get listeners into da zone) from 2.45 to 2.48

Good interesting lyrics in line, ZANJEER MERI at 2.42 in overall context.

Himesh’s lines, MEIN-NNN (twist) from 2.32 to 2.33, JAANA-AAA (twist) from 2.48 to 2.49 was similarly used in line MILNA-AAA (twist) from 0.24 to 0.25 in TERA MERA MILNA from AAP KA SUROOR - THE MOVIEE.

Alka’s line, KAISEEE (awesome quick desperation plea twist) at 2.59, chupaYEEEEEE (prolonged emphasis melody) from 2.59 to 3.01

Himesh remembers his long-forgotten pre ABA weapon in form of female soothing chorus (one of 3 key pre-ABA elements) which returns in his post-ABA sound from 3.05 to 3.07 & 3.10 to 3.12

Between 1st & 2nd stanza, a pleasant bansuri / traditional flute piece plays with innocent feel from 3.17 onwards is joined in by female seductive feel croons from 3.20 along with underlying ‘heart beat thump effect’ from 3.21 onwards and quick classical tabla beats from 3.25 onwards. Off-da-hook drum pattern HITS IT from 3.34 to 3.37

2nd stanza

The profound fluctuation bazz sound makes an impact and comes to da party from 3.45 onwards.

Himesh POURS HIS HEART OUT with his HALKE SE DESPERATION PLEA vocals in lines, TUJH SEEEEE from 2.42 to 2.43 & 3.47 to 3.48, AAYEEEEE from 3.59 to 4.00, MERAAAAA from 4.03 to 4.05

Himesh’s lines, MERI AASHIQUI KE (incredible melody notes that get listeners into da zone) from 3.49 to 3.51, SEEE (sooth feel) from 3.55 to 3.56, HAR KHAYAAL PE HAI (incredible melody notes that get listeners into da zone) from 4.04 to 4.08

Himesh’s line, TERI (OFF-DA-HOOK profound fulltu middle octave impact vocals) AAHAT from 3.57 to 3.58 strikes a chord.

Good interesting lyrics in line, TERA BASERA in overall context.

Himesh’s lines, aashiqui keEEEEEE (twist) from 3.52 to 3.53, khayal pe HAAAAI (twist) from 4.08 to 4.09 was similarly used in line MILNA-AAA (twist) from 0.24 to 0.25 in TERA MERA MILNA from AAP KA SUROOR - THE MOVIEE.

The majestic passionate feel violin piece from 4.00 to 4.01 (normal note), from 4.04 to 4.05 (higher note) gives terrific tune sur to Himesh’s middle octave vocals.

Alka’s lines, AB (terrific quick profound classical twist) at 4.22, TANHAAAAA (awesome prolonged subtle feel melody) from 4.23 to 4.26, RAHA (awesome desperation plea vocals) from 4.27 to 4.28

Himesh’s lines, DILW (terrific sooth feel) TUMHARE BINA (awesome subtle feel twist) KAHIN CHAAIN (awesome sooth feel twist) PAAYE (OFF-DA-HOOK utter sooth feel) from 4.40 to 4.48 are BUILD UP lines.

He delivers da vocal KILL effect by reverting to his typical sufi rwak antics with lines AB (OFF-DA-HOOK fulltu high pitch) at 4.48, TANHAAAAAAA (prolonged) from 4.49 to 4.51, AAA (HISTORY quick profound emphasis twist, pours his heart out) AAA from 4.52 to 4.53, RAHA (OFF-DA-HOOK vocals) from 4.53 to 4.54, JAA – AA – AA (awesome 3 step descent) AAAEEEEEE (terrific voice emphasis deepening that gives SIKE / JAZBA) from 4.56 to 4.57

Highlights of this song:

1. Himesh's killer vocals straight from da heart and Alka's melodious feel vocals.

2. The underlying free-flowing rhythmic beats (that remind of Koi jaaye toh le aaye - Ghatak) plus the constant fluctuating retro bazz voltage sound.

3. Off-da-hook random drum hit pattern and terrific violin sur in both stanzas.

4. The continuous fast-paced new age extended synthetic tune piece in 1st stanza gap, pleasant innocent feel bansuri / traditional flute piece, heart beat thump effect and quick classical tabla beats in between 2nd stanza gap.

5. The vibrant high-on-energy English male croons, Jayesh Gandhi's high-pitched desperation emphasis plea croons in stanzas, soothing female chorus in 1st stanza and female seductive croons between 2nd stanza gap.

This is a HISTORY composition with HISTORY singing, and one of Himesh's BEST EVER 'sung n composed' songs i.e. his cream. Himesh pours out his heart and sets his soul into this song as a singer.

In terms of music arrangement, this song has all the 3 key pre-ABA elements that made his songs 'INFECTIOUSLY CATCHY' i.e. female chorus, jayesh croons and Alka's vocals. Way to go Himesh! My question to himesh reshammiya is that why he is not using Alka Yagnik and soothing female background chorus anymore! The day he uses these elements then history will repeat itself.

One of the reasons why this is one of Himesh's best ever sung n composed songs is coz da music arrangement is game on and equally catchy as the melody and vocals. The orchestration is ELECTRIC LIVE WIRE i.e. the rwaking catchy fluctuating bazz voltage sound from 0.24 to 0.32 which builds up da song and gets listener into da zone, and the catchy vibrant aggressive new age contemporary tune piece in between 1st stanza gap from 1.57 to 2.13 gives tremendous KICK, along with the rwaking underlying continuous bazz sound that kicks in from 2.01 onwards. This is some seriously good orchestration whereby Himesh - the composer is in top form.

It shares the no.1 spot along with OH JAANA from ROCKY, in category 'where himesh sings with utter/max feel and passion'.

Dil Tumhare Bina - Video

There is a difference between Dil Tumhare Bina in the OST audio soundtrax and in its video version. The difference is that the tempo of the video version is faster, and this makes it sound more catchier and kickass than the audio version in OST. The audio version should also have had the same tempo as the video version.

Badi Dilchaspi Hai

Starting few seconds remind of beginning of MERE NAAL from ZAMEEN.

The song begins on a groovy note with an iffy male voice along with strong bazz guitar riffs, that does justice to the title of the project and its dark / grey locales in the first look posters.

The build-up process begins when 1 bit beat skips from 0.22 onwards, with feel good male rap vocals and female vocals.

The heavy metal guitar kicks in from 0.32 to 0.50

Arya's (the rapper) vocals are feel good cool vocals join in from 0.36 onwards

The rwakin mast jhakass free flowing beat that kicks in from 0.42 onwards is similar to AASHIQ BANAYA AAPNE TITLE TRAX, JHALAK DIKHLAJA from AKSAR and AAKHIYON SE GAL KAR GAYI from SHAADI SE PEHLE in terms of underlying 1 bit SHARP beats that belong to da same Waltz instrumental set.

From 1.10 to 1.16 & 1.44 to 1.49, the 1 bit beat and Arya's croons followed by full beats is a great intermittent build up that gets the listener into da groove.

The 3 drum hits from 1.16 to 1.17 & 1.50 to 1.51 give sahi desired effect.

The female chorus from 1.36 to 1.42 add a haunt feel touch.

Between mukhda & 1st stanza, the iffy male theme croons are followed by seductive female croons. The start-stop gap from 2.25 to 2.27 is great, after which the heavy metal guitar along with full beats kick starts proceedings again. The underlying fluctuating bazz sound from 2.27 to 2.37 is of great cause.

1st stanza

KK sings the simple yet catchy tune from 2.37 to 2.59 effortlessly with his feel good vocals.

The bazz trumpet at 2.51, 2.54, 2.56 & 2.59 that makes its impactful presence felt is the key for overall effect as it gives the listener some sike to feel.

The soothing female chorus from 3.06 to 3.11 add a haunt feel touch.

Between 1st & 2nd stanza, a wicked oriental flute that depicts that something unpredictably fishy / dodgy is going on in 36 China Town is joined in by a cute whistle type tune with awesome gradually dying echo effect from 3.47 to 3.49 followed by the great start-stop gap from 3.49 to 3.50 after which the heavy metal guitar along with full beats kick starts proceedings again. The underlying fluctuating bazz sound from 3.50 to 3.57 is of great cause.

2nd stanza

KK sings the simple yet catchy tune from 3.57 to 4.19 effortlessly with his feel good vocals.

The bazz trumpet from 3.59 to 4.01, 4.04 to 4.06, 4.11 to 4.13 & 4.16 to 4.18 that makes its impactful presence felt is the key for the overall effect as it gives the listener some sike to feel.

The soothing female chorus from 4.25 to 4.32 add a haunt feel touch.

Highlights of this song:

1. The effortless composition by Himesh which is equally sung effortlessly by KK's feel good vocals (hats off for making it look so simple, easy and yet so effectively catchy!).

2. The mast rwakin jhakass free flowing beats with a constant fluctutaing voltage type bazz sound.

3. The build up part where the beat gets semi-plugged along with Arya's rap on lines JUST BEAT IT, the 3 drum hits that give sahi desired effect, the starting profound bazz guitar riffs, wicked oriental flute and cute whistle type tune with gradually dying echo effect, heavy metal guitar and the sike giving bazz trumpet in the stanzas.

4. The start-stop gap before each stanza after which the heavy metal guitar along with underlying full beats kick starts proceedings again.

5. The seductive vocals in 2nd stanza gap and the haunt feel female chorus in stanzas.

Play this song if you are feelin it!

Jab Kabhi

This song is all about passion and feel.

The song begins with a likeable subtle oriental flute piece in unplugged mode.

OFF-DA-HOOK drum hit pattern from 0.59 to 1.01, 1.14 to 1.15 & 1.37 to 1.38 gives sahi desired effect.

The feel good guitar string tune (with an inherent twist) from 1.02 to 1.12 is a typical pre ABA element that was used countlessly in umpteem pre ABA songs.

The underlying beat from 1.02 onwards is laidback rhythmic.

Jayesh's croons of WOOOOOW & YEAAAAH (awesome passionate feel) at 1.07, 1.20, 1.26, 1.37 & 1.47

The quick keyboard flick from 1.26 to 1.28 is awesome.

From 1.49 to 1.57, the sur tune is awesome.

From 1.58 to 2.09, the passionate intense violin piece is mesmerizing.

OFF-DA-HOOK funky guitar from 2.11 to 2.12 & 2.22 to 2.24 is catchy.

From 2.41 to 2.52, the tune sur is very effective.

Kunal's lines, JAB KABHI (arrogant feel) pyar DOGENA (optimistic feel) from 2.42 to 2.52

The quick repetitive keyboard pattern that depict a sense of urgency in terms of 'milna-bichadna' between lovers along with subtle haunt feel vocals from 2.53 to 3.08 add an emotional quotient.

The vocal effect HAAH at 3.18 was similarly used at 4.09 in NAAM HAI TERA from AAP KA SUROOR.

From 3.24 to 3.29, the female chorus is soothing.

From 3.29 to 3.31, YEAAA JAB KABHI (utter feel).

The tune sur from 3.30 to 3.34, 3.41 to 3.45 & 3.52 to 3.55 makes impact.

Kunal's lines, LOVE KASAM (feel good emphasis) from 3.50 to 3.52, dur jaoge NA (emphasis twist) AAAAAAAAA from 3.58 to 4.01

The song comes to a HALT and the START-STOP gap is great.

From 4.04 to 4.42, welcome to typical unique pre-ABA Himesh melody whereby melodious Alka (along with guitar string piece (with an inherent twist) in unplugged mode) assures the hero that the heroine is his forever.

From 4.43 to 4.48, the random fast paced drum pattern builds HELL LOT OF SIKE in the manner in which they hit.

From 4.49 till end, the soothing feel female chorus add an emotional quotient.

Highlights of this song:

1. Kunal Ganjawala's passionate feel vocals and Alka Yagnik's melodious vocals on typical unique HR melody.

2. Laidback rhythmic underlying beats.

3. Off-da-hook random fast paced drum hit pattern/s intermittently through out the song  that give sahi desired effect and hell lot of sike.

4. Jayesh Gandhi's croons, subtle haunt vocals and the female background chorus with sooth feel and emotional quotient.

5. Subtle oriental flute at start, catchy quick keyboard flick, repetitive keyboard tune pattern, off-da-hook catchy funky guitar, passionate intense violin piece and guitar / string based instrument (with an inherent twist).

In this song, Himesh remembered his 3 key pre-ABA age-old ingredients i.e. Alka Yagnik, Jayesh Gandhi and female soothing background chorus that made his pre ABA songs 'infectiously catchy' in terms of vocals.

Verdict

When Himesh said that the music of 36 China Town was ahead of its time, he was dead right. And this can be evidenced in the contemporary new age orchestration used in Aashiqui Me Teri and Dil Tumhare Bina.

Himesh and Salman Khan at music launch of 36 China Town, Salman must be thinking, kaash yeh album meri next film ke liye hota.

My Picks

From Himesh's "sung n composed" songs:

1. Dil Tumhare Bina.

It features in Himesh's TOP 5 BEST EVER sung n somposed songs list. The build up at start is great. Underlying beats are rhythmic with a constant fluctuating bazz voltage sound. OFF-DA-HOOK raw drum hit pattern from 0.57 to 0.59, 1.24 to 1.26 & 1.50 to 1.53 gives sahi desired effect. Himesh’s line, AB (OFF-DA-HOOK fulltu vocals) at 1.15. The continuous fast-paced new age extended synthetic tune piece from 1.57 to 2.13 gives TREMENDOUS KICK. Himesh pours his heart out in the stanzas. Himesh reserves his best for the last. Himesh’s lines, DILW (terrific sooth feel) TUMHARE BINA (awesome subtle feel twist) KAHIN CHAAIN (awesome sooth feel twist) PAAYE (terrific utter sooth feel) from 4.40 to 4.48 are BUILD UP lines. He delivers da vocal KILL effect in lines, AB (OFF-DA-HOOK fulltu highpitched) at 4.48, TANHAAAAAAA (prolonged) from 4.49 to 4.51, AAA (HISTORY quick emphasis twist, pours his heart out) AAA from 4.52 to 4.53, RAHA (OFF-DA-HOOK vocals) from 4.53 to 4.54, JAA – AA – AA (awesome 3 step descent) AAAEEEEEE (terrific vocal deepening emphasis that gives SIKE / JAZBA) from 4.56 to 4.57, The underlying constant catchy fluctuating bazz voltage sound from 0.24 to 0.33 at start, 2.01 onwards in 1st stanza gap, 2.13 to 2.18, 2.26 onwards in 1st stanza, 3.46 onwards in 2nd stanza that gives jazba n gets da listener into da zone is RWAKIN.

2. Aashiqui Meri.

The song builds up on a grand note. Underlying beat has a constant fluctuating voltage sound. The loud female whispers CHINA TOWN from 0.07 to 0.09 & 1.56 to 1.59 strike a chord. Himesh's line, MEIN (terrific high pitched) at 1.09 & 1.28, DEDE DIL CHINA TOWN MEIN * 2 (pricking sensation, chubban ka ehsaas) from 1.14 to 1.18, Sunithi's vocals are MODULATED to a lower pitch to siut the overall scale of song. Himesh's line, TU MERI SAASEIN HAI from 2.38 to 2.40 get da listener into da zone. Himesh' BEST LINES in the song are AA AA (ubber rwakin nazal twang) from 4.01 to 4.02. The seductive female croons from 4.22 onwards are catchy. The song has an overall groovy mysterious feel which does justice to the film's theme/genre. It is exceptional singing by Himesh n great modulation of Sunithi's vocals from 2nd stanza onwards.

From Himesh's "composed only" songs:

1. 24/7 I Think Of You, Badi Dilchaspi Hai & Jab Kabhi (tie). 

24/7 I Think Of You

BEST LINE of song is Sunithi's line, dil me TUUUUUUU (terrific prolonged nazal emphasis) from 1.52 to 1.53 that comes from Himesh's Sufi-Rwak school of singing.

Jab Kabhi

Underlying beat is laidback rhythmic. Catchy funky guitar from 2.12 to 2.13 & 2.22 to 2.23. BEST PART of song is Alka's melodious vocals in unplugged mode on typical unique HR melody along with feel good guitar riffs (with inherent twist) from 4.04 to 4.33 which is typical of Himesh the pre ABA composer, followed by profound quick heavy drum hit pattern from 4.33 to 4.48 that gives tremendous kick. 

Remixes

Dil Tumhare Bina - Remix

DJ Akbar Sami's USP was da CALPYSO beat, and a prime example of where he used it was da RWAKIN fluctuating calypso beat from 1.13 & 2.00 onwards in DIL TUMHARE BINA REMIX sung by Himesh and Sunithi Chauhan.

So for a change, Himesh decided to check out DJ Akbar Sami's instrumental kitty and come up with da underlying RWAKIN fluctuating live wire calypso beat in MERI AAWARGEE from GOOD BOY BAD BOY.

 

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