aap_ka_suroor

Music review analysis of Himesh Reshammiya's debut pop album Aap Ka Suroor (2006).

Tera Suroor

After generating tremendous mass hysteria and bagging da best male playback singer in Filmfare awards (a rare unique feat in itself as no other composer has won any playback singer award on debut) for one of his best ever 'sung n composed' song Aashiq Banaya Aapne Title Trax, Himesh duly strikes when da iron is red burning hot and rather nails da coffin with this album. If himesh - the oppurtunist wasn't burning da midnight oil, then he was certainly making hay while da sun shined, and da results were there to be seen (or rather heard) as one curiously plays on da album after impatiently waiting for it to release going by da hype generated by initial promos.

The song begins with a subtly likeable piano piece followed by Himesh's haunt vocals in unplugged mode to build up the song.

The end twist in SUROOOR from 0.34 to 0.35 is inspired by the line Aashiq banaya aapne.

From 0.39 onwards, the song gets into business mode with the catchy signature violin theme piece and Himesh joins in later with his typical croons.

The quick beat effect from 1.03 to 1.04 was similarly used from 1.13 to 1.14, 2.08 to 2.09 & 3.29 to 3.30 in O JAANA LOVE U MISS U from ROCKY - THE REBEL and from 2.20 to 2.21 in YAHI HOTA HAI PYAR from NAMASTEY LONDON.

Himesh's line, OOOOOOO (forceful emphasis croon) from 1.13 to 1.16

The sad raga bazz tune kicks in between 1.11 & 1.21 enhances the emotional pain and sadness in Himesh's prolonged desperation plea croons.

Himesh's line TERA * 3 (awesome sharp middle octave impact) from 1.21 to 1.22, SUROOOOOOR (OFF-DA-HOOK prolonged desperation plea twist) from 1.22 to 1.27 whereby he pours his heart out.

Himesh sings the lines from 1.33 to 1.58 in middle octave and the violin piece plays intermittently to give good effect.

From 2.03 to 2.08, the fast tabla beats are great.

Himesh's line, RAAT-EEIN (terrific catchy quick twist) from 2.22 to 2.23

From 2.26 to 2.29, SUROOO - OOO – OOO – RRR (awesome gradual down twist).

Himesh's line, SUROO-OO-OR (awesome 2 step down twist) from 2.26 to 2.28 was similarly used in line BHAR-RR-RR (awesome 2 step down twist) from 2.56 to 2.58 & KE-EE-EE (awesome 2 step down twist) from 4.45 to 4.46 in WOH LAMHA PHIR SE JEENA HAI from KAJRAARE.

Between mukhda & 1st stanza, the infamous signature violin theme piece is back along with underlying painful bazz trumpet.

1st stanza

At 2.46, three quick heavy additional beats give perfect kick start.

Himesh's lines, HAIN (awesome feel twist) at 2.52, UMEEDEIN (awesome) from 2.55 to 2.56, DIL KI KADI (awesome) from 3.01 to 3.02

The tune sur from 2.55 to 3.03 gives terrific overall combined effect.

Himesh's line, IS DARD KA (utter sooth feel) EHSAAS PUCHO NA (HISTORY composition notes) from 3.03 to 3.07 is BEST stanza line.

Himesh's lines, pucho na pucho NAAAAAAAA (awesome desperation emphasis twist) in between 3.07 & 3.23

The feel good funky guitar from 3.14 to 3.15 & 3.22 to 3.24 gives good support.

From 3.24 to 3.30, the semi-plugged beat is great followed by quick heavy additional beats from 3.31 to 3.32 that give sahi desired effect.

From 3.29 to 3.30, emphasis on NAGMEEEEE (awesome profound quick sufi-rwak twist) EEEA.

The violin piece gives pleasant effect from 3.35 to 3.38

Between 1st & 2nd stanza, the sitar plays followed by signature theme piece and the start stop gap from 3.29 to 3.30 is of great cause to bring thehrav to intense proceedings.

2nd stanza

It has more melody impact whereby da song enters its business end.

Himesh's lines, TERE (awesome desperation emphasis) at 4.06 & 4.10, AAYE (passionate emphasis vocals give jazba) from 4.12 to 4.13, TERA (off-da-hook fulltu high pitched whereby expresses all his feelings) from 4.16 to 4.17

The tune sur from 4.11 to 4.18 gives terrific overall combined effect.

Himesh's line, RAB HI JAANE (profound middle octave impact vocals) YE PYAAS KAISI HAI (HISTORY composition notes) from 4.18 to 4.22 is BEST stanza line.

Himesh's lines, dekho na dekho NAAAAAAAA (awesome desperation emphasis twist) in between 4.22 & 4.37

Himesh's lines dekho na dekho NAAAAAAAA (awesome twist) pucho na pucho NAAAAAAAA (awesome twist) convey desperation plea emphasis.

The feel good funky guitar from 4.29 to 4.31 & 4.37 to 4.39 gives good support.

From 4.39 to 4.45, the semi-plugged beat is great followed by quick heavy additional beats from 4.46 to 4.47 that give sahi desired effect.

Himesh's line, JEEVANNNN (awesome profound quick sufi-rwak twist) NNN at 4.45

The 3 heavy hits at 4.47 are of great cause.

The violin piece gives pleasant effect from 4.50 to 4.53

From 5.09 to 5.17, Himesh's prolonged desperation plea alaap OOOOOOOO HUZOOR is followed by painful bazz trumpet and quick additional hits for sahi desired effect.

From 5.17 to 5.33, additional beats join the underlying beat and this ending trend was also used in AASHIQ BANAYA AAPNE TITLE TRAX from 5.34 to 5.51

From 5.34 to end, Himesh's vocals go into haunt mode in unplugged mode with emphasis on line SUROOOOOR (subtle twist) from 5.43 to 5.47, which is a touch faintly inspired by lines, aashiq baNAA (twist) YAAA aapne from AASHIQ BANAYA AAPNE TITLE TRAX.

Highlights of this song:

1. Himesh's desperation feel middle octave impact vocals.

2. The catchy signature violin theme piece, quick heavy additional beats for sahi desired effect, classical sitar piece, feel good funky guitar & painful bazz trumpet.

3. The underlying beat that gives great rhythm to the song.

It is a history song!

Tera Suroor - Music Video Review



A large hall filled with numerous firangi girls playing violin is synonymous with Himesh songs, e.g. Tanhaiyaan from AKS - The Moviee, Teri Meri Dosti Ka Aasmaan from Radio to name a few.

The viewer can feel the tadap n kashish when the female lead plays the violin in slow motion from 0.14 to 0.17

Himesh antics from 0.18 to 0.20 are as if suroor ka poora josh aur junoon sar char ke bol raha hai aur woh apni sudh budh mein khooye hue hain.

The way himesh sways sideways along with slow candle light hand moments from 0.54 to 0.59 & 1.14 to 1.18 give a nostalgic mood and vibe.

The girl in white costume does some rwakin super kool funky dance moves from 0.36 to 0.37, 0.42 to 0.44, 0.57 to 0.59, 1.29 to 1.32, 2.21 to 2.37 & 3.13 to 3.37 where she shakes it real good in rhythmic motion.

Himesh's facial expressions from 1.50 to 1.53, 2.41 to 2.44, 3.37 to 3.39, 3.43 to 3.46 & 3.57 to 3.58 depict his desperation plea.

Second stanza onwards from 2.52 to 3.21 gives some goosebumps and sensations, whereby the concept is great in the sense that there is a misunderstanding caused since Himesh teaches 'the other girl' how to play violin and his 'love interest' sees that happening and the closeness attached to it, and when Himesh notices it then he immediately leaves the violin n rushes behind his love interest in an attempt to explain n clear the misunderstanding, but albeit it is too late and that causes a conflict which results in a heartbreak. So try watching it from 2nd stanza onwards, especially from that point onwards when he starts teaching the 'other' girl how to play the violin, and chances are that it may give you goosebumps.

Therefore, the music video does full justice to the song as it has a sad undertone to it due to separation of love.

A morale, lesson and teaching learned from Tera Suroor music video is that, if a person has a friend girl and girl friend in the same vicinity, then that person has to refrain from teaching anything to that friend girl if there is any chance that the girl friend will see and witness it by chance...e.g. waise dekha jaaye toh Himesh ki niyaat apni friend koh violin sikhaane ki bilkul saaf thi, bade maasoom aur nek irade se sikhaare unko, jaise ke guru aur shishya...lekin kya hota hai ke woh sitting positioning thoda awkward ho gaya aur kyunki violin playing ek intense passionate cheez hoti hai, isi liye unki gf koh misunderstanding ho gayi aur bad timing ki wajah se anjaane mein unke rishte mein daraar par gayi, phir...is dard ka ehsaas pucho na.

there is a tanned beauty who sways around with the guitar during HR's historic lines, Is Dard Ka Ehsaas Pucho Na...this chick got swag

is dard ka ehsaas pucho na...don't ask the feeling of this pain, awesome lyrics.

oo siit yaar, premika bhag gayi

Himesh ji teaching violin to girls = recipe for misunderstanding. Violin sikhaate waqt kuch na kuch locha zaroor hota hai.

Naam Hai Tera

This is the BEST EVER Himesh SUNG N COMPOSED song till date (along with AASHIQ BANAYA AAPNE TITLE TRAX - tie).

It begins with a lovely piano piece in unplugged mode and is joined in by the 1 bit beat from 0.24 onwards to build up the song.

The underlying rhythmically free flowing laidback beat pattern kicks in from 0.34 onwards along with an effective subtle groovy tune from 0.35 to 0.44 of great cause.

The song has an underlying constant fluctuating bazz voltage sound.

Himesh's lines, SURKH (terrific fulltu high pitch with sharp vocals) at 0.47, 0.56 & 1.25, PEEEEEEEEEEEE (awesome prolonged middle octave) from 0.49 to 0.51, PEEEE (awesome sooth feel) from 1.03 to 1.04, & PEEEA (awesome profound middle octave impact) from 1.31 to 1.33

The catchy funky guitar plays in between 0.51 & 1.05, 1.23 & 1.33, with emphasis from 1.04 to 1.05 & 1.32 to 1.34 which is OFF-DA-HOOK catchy.

In essence, the lines thus far DIL KI SURKH DEEWARON PE are the BUILD UP lines, whereby the KILL effect is delivered by the core mukhda tag lines NAAM HAI TERA TERA (catchy repetitive hooks, Himesh's best ever repetitive hook in post ABA era songs) from 1.05 to 1.20 & 1.34 to 1.48 along with additional beat effect which gives awesome overall rhythm.

The additional quick beat effect at 1.21 gives great intermittent effect.

Himesh's line, NAAM (striking melody impact) at 1.34

Himesh's line, TERA TERA (terrific catchy twists, fully expresses his feelings for da lover) from 1.44 to 1.45 that get da listeners into da zone and make them feel it big time.

Between mukhda & 1st stanza, a likeable extended tune piece plays.

1st stanza

The beat effect at 2.07 gives perfect kick start to Himesh's vocals and the underlying fluctuating bazz sound throughout the stanza is of great cause.

Himesh's line, MEEEE (quick up down twist) at 2.10, 2.12 & 2.15, TU HI TU (damn catchy vocals) from 2.15 to 2.17

Himesh's line, KHAWISH (HISTORY passionate vocals) from 2.18 to 2.19, RANJISH (TERRIFIC passionate vocals) from 2.23 to 2.24

Himesh's line, MEEAAEEAA (terrific quick twist) from 2.24 to 2.25, TU-ON-ONNNNN (off-da-hook prolonged nazal deepening emphasis gives KICK) from 2.26 to 2.28

Himesh's line, TU HI TU-ON-NN (up down twist) from 2.25 to 2.28 was similar to his line pyar BEASAR-RRRRRRR (up down twist) from 3.22 to 3.24 & guzreEEEAAAAEEEE (up down twist) from 5.10 to 5.12 in SAMJHO NA (O JAANIYA VE).

The descending funky guitar from 2.27 to 2.29 is of great cause.

Himesh's lines, TERA TASAVUR CHARO TARAF HAI (gradually rising middle octave lines) from 2.30 to 2.32, YE - EE - EE - EE (HISTORY high pitched note) at 2.34, whereby the composition pattern of 2 notes rising from middle octave to higher pitch from 2.33 to 2.34 gives a feel of an airplane take off from low to high altitute and gradually gaining height, followed by additional beats from 2.37 to 2.39 that deliver the kill effect.

Himesh's line, EEEEEEE (HISTORY deliberate voice shake fluctuation at high pitch with resonance effect due to quick repetitive twists, check out the tonal quality!) from 2.35 to 2.38 which is path breaking singing from Himesh - the Sufi Rwak singer is followed by OFF-DA-HOOK catchy funky guitar from 2.37 to 2.40 which is CULT stuff, along with the kill effect of 1 sharp beat hit at 2.37 (terrific timing that gives sike) followed by OFF-DA-HOOK quick additional heavy beat effect from 2.37 to 2.39

Himesh's voice fluctuation at high pitch due to quick repetitive twists from 2.33 to 2.38 .

Himesh's voice fluctuation at high pitch due to quick repetitive twists from 2.33 to 2.38 is path breaking singing from Himesh - the Sufi Rwak singer.

Himesh's line, DIL KI - EE - EE - EE - EE (HISTORY fulltu high pitched passionate emphasis vocals give SIKE/JAZBA) from 2.39 to 2.41

Himesh's line, PEA-EEEEEAAA (prolonged feel good twist) from 2.48 to 2.50

Between 1st & 2nd stanza, a profound underlying quick matka effect is accompanied by himesh's well structured gradually descending passionate loopy croons YEAAA from 3.05 onwards that have a pattern just like climbing down a round staircase and joined in by cute harmonica tune piece from 3.11 onwards. Himesh's catchy ubber nazal twang croons from 3.29 to 3.38 are accompanied by underlying rhythmically laidback beats and fluctuating bazz sound.

2nd stanza

The beat effect at 3.39 gives perfect kick start to himesh's vocals and the underlying fluctuating bazz sound throughout the stanza is of great cause.

Himesh's line, HAEAAAAAEEEAAAAA (quick up down twist), especially at 3.41, 3.43 & 3.46, NAAAAAAAAAAAAAA (quick up down twist) at 3.50 & 3.53

The funky guitar from 3.48 to 3.49 is of great cause.

Himesh's lines, NAZRE - EEEA (terrific catchy quick twist) from 3.55 to 3.56 , NA (awesome halke se feel) at 3.57, JORNA - AAAAA (terrific prolonged feel good desperation plea twist) from 3.58 to 4.00, itni shiddat aur masoomiyaat se gaya hai, it gives a depiction as if da lover is literally on his knees n begging / pleading da herione not to do all this stuff...its called emosnal attyachaar.

Himesh's lines, MERA YAKEEN HAI TERE BHAROSEE (gradually rising middle octave lines) from 4.01 to 4.04, EE (OFF-DA-HOOK high pitched note) at 4.05 whereby the composition pattern of 2 notes rising from middle octave to higher pitch gives a feel of an airplane take off from low to high altitute and gradually gaining height

From 4.06 to 4.10, Himesh's line EEEEEEEEEEA (off-da-hook resonating vocals with prolonged dying effect) from 4.07 to 4.08 along with OFF-DA-HOOK feel good funky guitar, especially the quick descent from 4.08 to 4.10 that is CULT stuff, is followed by the kill effect of 1 sharp beat hit at 4.08 and his terrific timing croon HA that gives sike followed by OFF-DA-HOOK additional quick heavy beat effect from 4.09 to 4.10

These effects like HAAH is nothing more than attitude, arrogance and sarcasm after Himesh knows he has delivered a masterpiece. For example the sarcastic laugh at the same spot (end of 2nd stanza in Ahista Ahista) when he croons HA HA, is a message / statement to critics of his ubber nazal singing which is still rwaking despite their antics.

Himesh's line, DIL KI - EE - EE - EE - EE (HISTORY fulltu high pitched passionate emphasis vocals give SIKE/JAZBA) from 4.10 to 4.12

Himesh's lines, PEEEEE (awesome prolonged feel good twist) from 4.17 to 4.18 & 4.19 to 4.21, DEEWAAR (awesome halke se feel) OO at 4.19 

The song ends with the funky guitar in unplugged mode from 4.37 onwards.

Highlights of this song:

1. Himesh's sharp knife edge vocals with hardly any trace of nazal twang.

2. Underlying rhythmically free flowing laidback beat pattern.

3. Likeable piano piece at start, subtle groovy tune, catchy funky guitar, additional intermittent quick beat effects, profound underlying quick matka effect, cute harmonica tune piece and fluctuating bazz sound throughout stanzas.

Each and every note of this composition is melody which gave maximum initial pricking sensations (chubban ka ehsaas) as a Himesh fan (just like AFREEN from RED - THE DARK SIDE did in its initial repeat hears). Sensational stuff this!

Its a HISTORY composition with HISTORY singing whereby Himesh Reshammiya showcases his ULTIMATE BEST, delivers to his FULLEST MAX POTENTIAL and his uncapped musical talent reaches its HIGHEST PEAK.

In terms of benchmarks, this song is a record that only Himesh can himself beat with his future compositions.

Samjho Na

The song begins with a continuous haunt feel tune in unplugged mode along with Himesh's vocals with echo effect.

The semi-plugged beats kick in from 0.35 onwards.

The quick piano key tune that plays throughout the mukhda from 0.37 onwards gives great tune sur to himesh's vocals.

When Himesh composed TADAP from DARLING, he was inspired by the mukhda tunes and the line Samjho NA (twist) from 2.13 to 2.14 was similar to his line OOOOOO (twist) from 1.08 to 1.09 in TADAP.

Himesh's lines, ALAAM BETABIYON KA KAISE TUMKO BATAYE DIL KI BECHI DARAHE CHAHE TUMKO HI CHAHE (along with emotional classical raga tune that gives awesome overall melodious sur) from 1.55 to 2.05 are BEST part in mukhda.

From 2.20 to 2.40, the painful raga tune piece along with laidback semi-plugged beat skips is capable of shattering da listener with dejection.

1st stanza

Himesh's lines, TUMSEEEAAAAEEE (awesome desperation feel twist), CHAAHAAAAAAA (awesome desperation feel twist), TUMMMMMMMMMM (awesome desperation feel twist), & BHAROSAAAAAAA (awesome desperation feel twist) in between 2.46 & 3.00

The bazz trumpet tune from 2.53 to 2.56 & 3.12 to 3.15 (gradually rising) enhances da pain element.

Hmesh's line, GOR-SEEEAAAAAAEEAAAA (awesome profound emphasis quick twist) from 3.08 to 3.09

Himesh's line, KISI (fulltu high pitched to fully express / convey his emotions, dil ki baduaa) at 3.17 give dil ki baduaa of a true lover which is enhanced by lyrics like PYAR BEASAR.

Himesh's line, pyar BEASAR-RRRRRRR (up down twist) from 3.22 to 3.24 was similar to his line TU HI TU-UU-UU (up down twist) from 2.25 to 2.28 in NAAM HAI TERA.

The painful classical raga tune from 3.42 to 3.55 that gives overall melodious sur also depicts da pain in lover's heart.

Between 1st & 2nd stanza, more haunting tune in semi-plugged more from 3.59 to 4.07 followed by more painful raaga tune of separation from 4.08 to 4.34

2nd stanza

Himesh's lines, AAPNIIII (awesome desperation emphasis), AAYEEII (awesome painful desperation emphasis), & PAAYIIII (awesome painful desperation emphasis) in between 4.35 & 4.49

The bazz trumpet tune from 4.42 to 4.44 & 5.01 to 5.03 (gradually rising) enhances da pain element.

Himesh's lines, DINNNN (awesome quick emphasis twist) from 4.56 to 4.57

Special mention for lyrics like TERI YAADON ME KAT JAAYE DIN (depict the obsession of da lover) DUA ME SAARI RAAT GUZRE (with still a glimmer of hope that his loved one will return back).

Himesh's line, HUMPE (fulltu high pitched) at 5.06

Himesh's line, guzreEEEAAAAEEEE (up down twist) from 5.10 to 5.12 was similar to his line TU HI TU-UU-UU (up down twist) from 2.25 to 2.28 in NAAM HAI TERA.

The classical raga joins in from 5.47 onwards to enhance the pain element.

The song ends with himesh's vocals in unplugged mode giving an overall haunt feel.

Highlights of this song:

1. Himesh's painful vocals.

2. Underlying semi-plugged beats (the underlying rhythmic beats in da video that take da song many notches higher).

3. Haunt feel tune at start and end, quick piano keys tune that plays throughout the song and emotional classical raga tune that plays along with himesh's mukhda lines.

4. Painful raaga tunes used in between both stanza gaps.

5. Special mention for Sameerji's lyrics that are tailor / custom made for this song and which couldn't get any better than this!

Samjho Na - Music Video Review

The touching storyline of video is well conceived whereby lyrics go hand-in-hand and himesh emotes his desperation feelings very well with his facial expressions (yes, along with his voice, himesh also found and won over sympathy in da hearts of aam junta at that time due to da euphoria of his sad music videos which caused an 'emotional konnection' whereby people could identify with and relate to him). It has the best acting by Himesh in a music video, heart shattering in between 1st stanza gap n 2nd stanza onwards when he arrives in the wedding whereby the part from 5.17 to 5.38 in above video can leave da viewer gutted. The additional rwakin rhythmic beats in above video that elevate da song to a whole new level are way better than the semi-plugged beats in the original audio version.

the helpless dejected shattering feeling when the girl tells him that she is engaged with someone else and her marriage is finalized, and he realizes that now he can never ever attain her in this janam

chhote Himeshji singing Samjho Na...girl is clapping and she is very happy...good times during sweet childhood...par afsoos ki baat, ke jab larki badi hui, uske daddy ne uski shaadi kisi aur se kardi

I Luv U O Sayyoni

The song begins with a wicked rebel funky bazz sound in semi-plugged beat mode.

The peppy beat with 1 bit hit joins in from 0.08 onwards along with an underlying subtle groovy sound.

The full beat that kicks in from 0.31 onwards has an awesome repetitive profound raw quick DHOL hit pattern which gives awesome rhythm to proceedings and gets the listener's foot tapping.

Himesh sings in his trademark nasal style with rwakin ubber nazal twang.

Himesh's line, PUCH (high note) LE-EEEEE (awesome quick profound down twist) from 0.25 to 0.26, 0.53 to 0.54 & 3.15 to 3.16

Himesh's line, TUJH PE HAI  (OFF-DA-HOOK fulltu high-pitched vocals) from 0.26 to 0.27, 0.54 to 0.55 & 3.16 to 3.17 is sung with energetic zeal as if it is a rightful demand over his lover.

Himesh's lines, HAQ (ubber rwakin nazal twang slogan) at 0.29 & 0.57

His repetitive catchy hook I LOVE YOU SAYYONI is very true to his new-age composition style and it goes in foot tapping SYNC with the underlying rhythmic beats.

Himesh gets innovative with the bindaas phrase KOI SHAQ WHATS UP (bindaas feel good attitude vocals) that give completeness effect to his preceeding lines.

Between mukhda & 1st stanza, the grand majestic new age sound pattern that sounds like church bells is likeable.

1st stanza

Himesh's sooth feel lines from 1.34 to 1.41 with emphasis on JAANE JAANA & BEGANA along with 1 bit hit pattern is the build up part.

From 1.42 to 1.48, Himesh's singing pitch rises abruptly and his fulltu MIDDLE OCTAVE IMPACT vocals along with profound raw quick dhol hit pattern deliver kill effect and give foot tapping kick to the listener.

Himesh's line, BERIAVEEEE (prolonged) EEEE (down twist) from 1.49 to 1.51 is representative of himesh's line SUKOON (prolonged down twist) at 1.08, 1.47, 3.00 & 4.25 in JUNOON from ROCKY – THE REBEL, and the line KAHAAA (prolonged twist) from 1.01 to 1.02 & 1.19 to 1.20 in CHUTKAN GANG from AABRA KA DABRA.

Between 1st & 2nd stanza, a new-age synthetic tune piece plays along with an underlying retro sound in unplugged mode from 2.13 to 2.21 is joined by the underlying rhythmic dhol beat pattern from 2.22 onwards.

Himesh's sooth feel lines from 2.31 to 2.38 with emphasis on DIL & MANZIL along with 1 bit hit pattern is the build up part.

From 2.38 to 2.45, Himesh's singing pitch rises abruptly and his fulltu MIDDLE OCTAVE IMPACT vocals along with profound raw quick dhol hit pattern deliver kill effect and  give foot tapping kick to the listener.

Himesh's line, BERIAVEEEE (prolonged) EEEE (low twist) from 2.45 to 2.47 is representative of himesh's line SUKOON (prolonged down twist) at 1.08, 1.47, 3.00 & 4.25 in JUNOON from ROCKY – THE REBEL, and the line KAHAAA (prolonged twist) from 1.01 to 1.02 & 1.19 to 1.20 in CHUTKAN GANG from AABRA KA DABRA.

The profound raw quick heavy drum hit pattern in unplugged mode from 3.19 to 3.22 is in full form.

Highlights of this song:

1. Himesh's abrupt combo mix of soothing feel-good vocals with fulltu middle octave impact, with emphasis on mukhda line TUJH PE HAI and stanza lines from 1.42 to 1.48 & 2.38 to 2.45 that get da listener into da groove.

2. The underlying beats comprising of rhythmic 1 bit hit pattern and profound raw quick dhol hit pattern that gives foot tapping kick and is USP of song. 

3. Wicked funky rebel bazz sound, subtle groovy tune, grand majestic new age sound pattern in between 1st stanza gap, new age synthetic tune piece and retro sound in between 2nd stanza gap.

This song is an example of minimum 'quantity' of orchestration (instruments) in terms of choice selection with maximum results because whatever limited is used is darn effective.

Tu Yaad Na Aaye

The song begins with an underlying funky bazz sound and an innovative quick tabla pattern.

The chime effect joins in from 0.06 to 0.09 followed by well structured traditional flute / bansuri theme piece with emotional feel quotient from 0.09 to 0.17 & 0.22 to 0.26 (i.e. normal note at 0.10, 0.14, 0.23 & 0.28, lower note at 0.12, 0.17, 0.26 & 0.30

The underlying beats that kick in from 0.18 onwards have a repetitive 2 laidback profound hit pattern that bring da listener slowly but surely into da groove were also representative of the underlying beats of DEKHU TUJHE TOH PYAR AAYE from APNE.

Himesh croons in high pitch with utter feel and passion.

Jayesh belts out some quick intermittent classical croons to complement Himesh's vocals.

The bansuri piece followed by quick profound tabla pattern from 0.54 to 0.57 & 1.21 to 1.24 give intermittent kick, followed by 2 off-da-hook profound tabla hits at 0.58 & 1.27 that get hold and catch da classical pulse of listener.

Himesh's line, NAHI (awesome desperation emphasis) from 0.57 to 0.58, 1.06 to 1.07, 1.24 to1.25 & 1.33 to 1.34

Jayesh's vocals from 1.40 to 1.52 are full of desperation feel.

Between mukhda & 1st stanza, Jayesh is back with his catchy quick classical croons, with emphasis from 2.09 to 2.10 (off-da-hook intense emphasis) along with instrument tune in sync. A feel good saxophone plays from 2.15 to 2.33 along with an underlying laidback retro sound followed by Jayesh's desperation feel croons and profound quick tabla pattern, especially the last profound off-da-hook 2 hits from 2.43 to 2.47 gets hold of listener's pulse.

1st stanza

Himesh's emphasis SLOGAN coons and the 2 laidback drum hit effect in sync gives laidback rhythm.

Between 1st & 2nd stanza, the bazz trumpet from 3.46 onwards is joined by a funky guitar piece from 3.55 to 4.04 along with underlying laidback retro sound followed by Jayesh's desperation feel croons from 4.05 4.17 and well structuredbansuri theme piece from 4.18 to 4.22

2nd stanza

Himesh's emphasis SLOGAN croons and the 2 laidback drum hit effect in sync gives laidback rhythm.

Emphasis on lines from 4.40 to 4.50 (catchy vocals) with nazal twang in line MEHBOOBA, DOOBA (uber rwakin nazal twang) from 4.48 to 4.49

The quick profound beat effect from 5.06 to 5.07 is off-da-hook.

Himesh's repetitive lines from 5.21 to 5.26 are full of desperation plea and a 'fariyaad to uparwala'.

The song finishes on a traditional classical note with the flute piece and tabla pattern, which expresses the emotional feel of the loss due to tradegy, whereby the emotional feel bansuri piece in unplugged mode from 5.34 to end depicts the desperation plea, helplessness and dejected state of the lover in terms of how much he remembers and misses his loved one but cannot do anything about it.

Highlights of this song:

1. Himesh's desperation plea vocals, especially the line NAHI (emphasis).

2. Underlying laidback profound drum hit pattern that takes its own time to come to da party.

3. Quick profound tabla hit pattern followed by 2 off-da-hook profound classical tabla hits that give sahi desired / intermittent effect.

4. Well structured emotional feel traditional flute / bansuri theme piece used intermittently throughout, chime effect, feel good saxophone, laidback retro sound, bazz trumpet and funky guitar.

5. Jayesh's quick classical and desperation feel croons.

Mere Lamhon Ki Aarzoo

The starting tune piece is the core theme piece of this song.

It is a fast synthetic string based tune with 6 HITS and It sure gives a lot of SIKE.

The starting part is unplugged until 0.15, & the main point in the added beat that gives the desired effect is the ONE HIT DRUM BEAT, i.e. 0.16, 0.18, 0.20 & 0.22.

Once the fast string beats 6 HITS play then this additional beat hits ONCE after a gap (great innovative beat pattern).

Himesh croons fulltu in high-pitched vocals.

From 0.27 to 0.32 & 0.36 to 0.38, the unplugged 6 HITS STRING PATTERN is OFF DA HOOK and gives SIKE.

Himesh's lines, tanhayi KE SAATHI (emphasis), chaahat KE REHUMAN (emphasis) are like slogans.

Himesh's line, BAS TUM (twist) HO (feel) from 0.47 to 1.18

The tune of Himesh's line, BAS TUM HO * 2 from 0.47 to 0.52 comes from pre ABA school of music.

Himesh's line, BAS TUM (high) HOOOOOOOOOOOOOO (OFF-DA-HOOK catchy prolonged intense emphasis alien-ish voals, as if the obsessed lover goes into the fast lane n high state of trance, jaise ke sar pe josh-aur-junoon sawaar ho apne lover koh paane ki chaah mein) - OOO (OFF-DA-HOOK desperation plea up twist) from 0.55 to 0.59 & 1.25 to 1.29 along with tune sur gives terrific overall effect, followed by fast paced MATKA beat effect from 1.00 to 1.02 &1.30 to 1.32 (that was similarly used from 1.32 to 1.34 in JAB JAB DIL MILE from SILSILAY) that gives the completeness touch.

Himesh's line, BAS TUM (high) HOOOOOOOOOOOOOO (prolonged) - OOO (OFF-DA-HOOK up desperation plea twist) was similarly used in line AAAAAAAA (prolonged) AAA (up desperation plea twist) from 0.07 to 0.11, 1.04 to 1.07 & 1.26 to 1.29 in CHAAHAT KI KHUSHBOO from ISHQ HAI TUMSE, line OOOOOOO (prolonged) OOO (up desperation plea twist) from 0.47 to 0.50 in SANGDIL SANAM from TUM, and from SANAM - MMM (up desperation plea twist) from 0.26 to 0.27 & 0.42 to 0.43 in MERI AAWARGEE in GOOD BOY BAD BOY.

Himesh's line, BAS TUM (OFF-DA-HOOK singing) HO (OFF-DA-HOOK halke se feel) from 1.35 to 1.36

Between mukhda & 1st stanza, a pleasant flute piece along with unplugged beat plays in an otherwise charged up song to allow scope for flashback in the video version.

1st stanza

Himesh's middle octave lines from 2.08 to 2.15 & 2.28 to 2.35 are just like slogans.

Himesh's line, AARZOO (exaggerated over da top twist is lol) from 2.49 to 2.51 the way he sings it with twist, one feels like gently touching HR's chin n asking...Himeshji, kya hai? [fun intended]

Between 1st & 2nd stanza,  the dying effect of the 6 HIT fast string instrument from 3.12 until it fades away is followed by a bazz trumpet from 3.14 to 3.18 which gives the effect of a flashback and representative of what happens in the video. This is followed by a lovely whistle type flute from 3.26 to 3.33 along with the RWAKIN unplugged beat where only the 6 fast hits string followed by 1 additional drum hit after a gap. A prolonged cute sounding synthetic tune piece with quick twists-n-turns greets the listener from 3.33 to 3.42 and gives kick.

2nd stanza

Himesh's middle octave lines from 3.46 to 3.54 & 4.06 to 4.14 are just like slogans.

Himesh's line, DHADKAN-NNNNN (deliberate prolonged nazal deepening effect) from 4.00 to 4.01

Himesh's line, YEEE-EEE-EEE-EEE (off-da-hook prolonged passionate feel croon twist whereby he pours out his heart) from 4.02 to 4.05 is in total contrast to his otherwise fulltu vocals, and it brings a breather and some respite in an otherwise charged up song.

Highlights of this song:

1. The 6 fast synthetic string hits followed by 1 additional drum hit i.e. the underlying beat pattern that gives this song its true identity.

2. The BAS TUM HO part wherever mentioned.

3. The tunes in between 1st & 2nd stanza gaps, the fast matka beat effect.

Whoa, sure mate. In that immediate after ABA era, Himesh had become a GOLDEN GOOSE or SONI KE ANDE DENE WALI MURGI OR RATHER MURGA [fun-intended].

But seriously,whatever that Himesh's composing fingers and vocals touched at that time turned into gold, didn't matter how much quantity he was doing because even fill up songs sitting at 5-6 position were becoming chartbusters i.e. like this song that was one of the continuous 36 hits.

An additional note that the starting tune pattern was inspired (albiet to lesser extent and lesser keys) in starting tune of DEKHU TUJHE TOH PYAAR AAYE from APNE.

Aashiqana Hai Dil

This song is very high intense charged up on energy level and it is a roller coaster ride with himesh reshammiya especially in the stanzas.

It begins with a catchy underlying constant repetitive theme piece pattern (used intermittently throughout the song) that was used for similar effect purposes in EK TUM HI from RED - THE DARK SIDE, along with peppy clap effect and rhythmic beats that join in from 0.07 onwards.

The whoosh effect in between intervals of 0.15 & 0.28 sounds like the braking of a train or in a production plant whereby a large amount of gas / steam is released from a hosepipe / chimney with pressure.

Himesh's line, PEER MOHABBAT KI HAI KYA (strong MIDDLE OCTAVE vocals) is CATCHY.

Himesh's line, jaane NAAA (awesome profound down twist followed by effective 4 repetitive nasal echo effect that gives completeness effect) from 0.33 to 0.40, 1.16 to 1.25 & 1.37 to 1.46

Himesh's croon, MA (sudden high pitched desperation plea note) ULAAAAAAA MAULA (prolonged up down twist) from 1.26 to 1.31 is much like a muslim prayer to plead to god to fulfil his love.

Himesh's line, AAA (sheer arrogance) SHIKANA at 1.47 & 1.50 depicts the craving and lust of a frustrated lover.

Stanzas are simply RWAKING.

Between mukhda & 1st stanza, the catchy underlying constant repetitive theme piece pattern plays from 2.02 to 2.08 upon which the whole song banks on.

1st stanza

High pitched adrenaline flowing sike giving stuff from 2.08 to 2.23 whereby listener imagines the pissed off lover in rebel mode removing all his fury  in a 'sun saan ilaka' of top of his lungs alone by himself, as if trying to express / convey his feelings of desires and trying to question, complain and fight off his luckless fate / destiny in terms of unfulfilled attempts in obtaining his loved one

Himesh's lines, ISHQ HAI IK, AISI AADAT (off-da-hook fulltu high pitched vocals) from 2.08 to 2.12, daaLE (slogan), JAANATON KE (off-da-hook fulltu high pitched arrogant feel vocals), KHWAB (off-da-hook fulltu high pitched vocals) DEKHE from 2.16 to 2.19 & jaan nikaLE (slogan).

From 2.28 to 2.30, nasal echo effect.

Between 1st & 2nd stanza, the pleasant flute type whistle piece plays from 2.44 to 3.03 brings about some respite in an otherwise charged up song.

2nd stanza

High pitched adrenaline flowing sike giving stuff from 3.11 to 3.25 whereby listener imagines the pissed off lover in rebel mode removing all his fury of  in a 'sun saan ilaka' of top of his lungs alone by himself, as if trying to express / convey his feelings of desire and trying to question, complain and fight off his luckless fate / destiny in terms of unfulfilled attempts in obtaining his loved one.

Himesh's lines, MERI BAATON, KE JAHAAN MEIN (off-da-hook fulltu high pitched vocals) from 3.10 to 3.14, TERE (TERRIFIC fulltu arrogant vocals), CHAAYE (slogan), KARNA CHAHU, YA NA CHAHU (off-da-hook fulltu high pitched vocals) from 3.18 to 3.22, & JAAYE (slogan).

From 0.45 till end, the catchy underlying constant repetitive theme piece pattern in unplugged mode gives SIKE.

Highlights of this song;

1. Himesh's energy filled singing especially jaane NAAA (profound down twist followed by effective 4 repetitive nasal echo effect that gives completeness effect), MA (sudden abrupt high pitched desperation plea note) ULAAAAAAA MAULA (prolonged up down twist), and with contrasting pitch range i.e. catchy middle octave mukhda (PEER MOHABBAT KI HAI KYA) and high pitched fulltu stanzas.

2. The catchy underlying constant repetitive theme piece pattern that is the song's USP.

3. The rhythmic beats along with clap effect and the pleasant flute type whistle piece in between 2nd stanza gap.

Chhed De Pyaar Ki Baat

The song begins with a haunt feel sound until 0.03 followed by a groovy sound until 0.07 followed by a classical emotional feel raga tune until 0.32, with emphasis on emptional plea twist from 0.29 to 0.31

The rhythmic beats kick in from 0.32 onwards along with a bazz sound and profound repetitive hit pattern at intervals of 0.36, 0.38, 0.41, 0.43 and so on.

The new age synthetic metal guitar plays from 0.44 to 0.45

The rapper does his thing from 0.45 to 1.04 with feel good bindaas vocals.

The emotional feel raga tune returns from 1.02 to 1.10 along with intermittent funky feel good guitar piece from 1.05 to 1.07 & 1.10 to 1.12

The wicked synthetic guitar riff from 1.13 to 1.14 & 1.18 to 1.19 that was also used from start to 0.02 in ULFAT from NANHE JAISELMER, followed by vibrant metal guitar from 1.16 to 1.17 & 1.20 to 1.22 gives great intermittent effect.

Himesh's line, CHHED DE PYAR DI BAA-AAAAT (sooth feel) in between 1.26 & 1.34, 1.50 to 1.58, 2.09 & 2.17

The raga tune at 1.26, the funky guitar tune from 1.29 to 1.31 & 1.34 to 1.36 and the vibrant synthetic metal guitar from 1.51 to 1.58 & 2.09 to 2.18 is effective.

Himesh's lines, EVER SINCE YOU BEEN AROUND DIL CHAHE KARDU MOHABBAT KI BARSAAT (deliberate arrorang feel good vocals) from 1.59 to 2.08 is the same singing style that he asked Shaan to croon in stage songs like MOHABBAT HAI MIRCHI and NIKAMMA KIYA IS DIL NE.

The wicked synthetic guitar riff followed by 1 beat hit from 2.08 to 2.09 is of great cause.

Between mukhda & 1st stanza, the female emotional feel Punjabi chorus from 2.18 to 2.32 that are an unanticipated surprise actually in an otherwise western arranged song are followed by da extremely effective cult RAP from 2.33 to 2.42 whereby himesh  brings together an extreme combination whereby the TRADITIONAL EAST (PUNJABI FEMALE VOCALS) "meets n greets" the MODERNIZED WEST (ENGLISH RAP). This ULTIMATE EAST-WEST FUZION gives the X-FACTOR (1st USP of this song).

A glimpse of Nusrat Fateh Ali Khan's singing can be heard in the stanza lines which are sung in Himesh's ustad emphasis vocals.

1st stanza

The simple yet effective repetitive composition pattern from 2.42 to 3.01 that is sung with passionate ubber rwakin nazal twang is a catchy affair (2nd USP of this song).

Himesh's line, KIL DASH (awesome arrogant feel emphasis) from 2.42 to 2.43, JAANI - AAAAA (awesome nazal emphasis twist) at 3.00

Between 1st & 2nd stanza, the female emotional feel Punjabi chorus are back from 3.34 to 3.49 followed by an extended emotional feel raga tune piece from 3.49 to 4.12 followed by OFF-DA-HOOK CULT RAP from 4.12 to 4.22 that get da listeners into da zone and make them feel it big time. This ULTIMATE EAST-WEST FUZION is the X-FACTOR (1st USP) of this song.

2nd stanza

The simple yet effective repetitive composition pattern from 4.22 to 4.39 that is sung with passionate ubber rwakin nazal twang is a catchy affair (2nd USP of this song).

Himesh's line, ISHQ TERA (OFF-DA-HOOK vocals) from 4.22 to 4.23, PAR GHULAMI ME MAZA HAI (great lyrics) from 4.36 to 4.38, JAANI-AAA-VEE (great nazal feel twist) from 4.39 to 4.41

The song ends with the combo of feel good funky guitar and emotional feel raga tune from 5.32 onwards.

Highlights of this song:

1. Himesh's mix of ubber rwakin nazal twang (especially in stanzas, 1st USP of song) and deliberate arrogant feel good vocals.

2. Underlying rhythmic beat pattern.

3. Emotional feel raga tune, funky feel good guitar, vibrant synthetic metal guitar.

4. Da unique EAST-WEST combo mix of off-da-hook cult male rap with female Punjabi chorus in between stanza gaps which gives X-FACTOR (2nd USP of song).

This song shows Himesh's versatility as a composer when he has the creative scope and freedom to experiment as he thinks innovatively out of da box to make such a fuzion number.

Chahe Gila Karo

This is Himesh's BEST 'sung n composed' SAD song.

The song begins with feel good laidback guitar riffs that were similarly used from 3.52 to 3.56 in YAHI HOTA HAI PYAR from NAMASTEY LONDON, and they convey a sense of helplessness and dejection, followed by male croons conveying desperation feel of love lost due to separation.

Himesh arrives with his painful vocals.

Himesh's line, OH JAANE TAMANNA – AAA (normal note) – AAA (one note down) – AAA (half note up) from 1.23 to 1.27 has HISTORY prolonged desperation feel twist.

Himesh's lines, TUM DUR – DUR – DUR – DUR (HISTORY gradually rising notes, just like an airplane gaining altitude after takeoff) in between 0.35 & 0.42, 1.28 & 1.45

Himesh's lines, REHNA – AAAA (terrific profound twist) from 0.38 to 0.39 & from 1.41 to 1.42

Himesh's lines, NA REHNA – AAAAAAAA (prolonged emphasis vocals with dying effect which is his trademark sufi rwak finishing effect, that is where the pain/tadap comes from) from 0.42 to 0.45, yeh dil se nikli hui aah hai. 

HR's line, NA REHNA-AAAAAA (prolonged emphasis vocals) from 0.42 to 0.45, yeh dil se nikli hui aah hai yeh dil se nikli hui aah hai

The underlying foot tapping rhythmic beats that kick in from 0.45 onwards are accompanied with a HISTORY underlying continuous repetitive fluctuating instrumental theme piece that is saddistic in nature and a intermittent heavy clap type sound effect at regular intervals i.e. at 0.45, 0.48, 0.50 and so on that was similarly used at 0.18, 0.20, 0.22, 0.24 and so on in AADAT HO CHUKI from KOI AAP SA.

From 0.55 to 1.12, himesh's painful haunt vocals that have echo effect are a great build up to the song.

He sings with haunting vocals along with the beats.

Between mukhda & 1st stanza, the guitar riffs and desperation feel male croons are back followed by a painful violin piece from 2.00 to 2.18 conveys the emotions of a heart broken dejected lover, after which the main underlying beats kicks in again. The painfully sad violin piece from 2.01 to 2.03 has a shattering effect upon the listener as if to depict that tragedy has struck and that everything is over, jaise ke sab kuch khatam ho gaya hai.

1st stanza

Himesh's line, AADAT HAI (ustad nusrat fateh ali style) from 2.32 to 2.33, RAAHAT HAI (ustad nusrat fateh ali style) from 2.45 to 2.46

The intermittent painful violin piece from 2.34 to 2.36 & 2.46 to 2.48 is of great cause.

Himesh's line, BINNNN (halke se kick that gets listener into da zone) from 2.36 to 2.37, MERI BECHAINEYON (middle octave) from 2.41 to 2.43

From 2.49 to 2.58, very powerful vocals with meaning and purpose.

Awesome tune sur variation from 3.02 to 3.04 behind the line OOO (twist) gives the key effect in terms of the overall underlying repetitive tune pattern.

Himesh's line, JAISE DIL DEKHEEE (HISTORY sudden fulltu high pitched desperation emphasis vocals) EEEEN – NNN (quick descending twist) from 3.05 to 3.06 whereby he expresses all his pain due to tadap n ehsaas is the BEST part of the song, and it is the key reason why this is the best sad sung song by Himesh.

From 3.08 to 3.16, the violin flicks increase in tempo thus depicting a sense of lost urgency as if the heroine was going forever and the hero needs to act rather quickly to save the love of his life.

Between 1st & 2nd stanza, a pleasant subtle traditional flute plays in semi-plugged mode from 3.22 to 3.39 followed by the painful violin piece.

2nd stanza

From 3.50 to 4.12, himesh sings in desperation feel middle octave vocals giving a feel of the great Attaula Khan.

The intermittent painful violin piece from 3.59 to 4.02 & 4.11 to 4.14 is of great cause.

Himesh's lines, BAITHO JO TUM MERE SAAMNE TUMHE HAAL-E-DIL SUNAU, KITNI MOHABBATEIN TUMSE HAI TUMHE AAJ MEIN SUNAU that are sung with great passion and purpose, have mind blowing lyrics whereby the listener can actually visualize the situation, HATS OFF Sameer sir!

Awesome tune sur variation from 4.28 to 4.30 behind the line OOO (twist) gives the key effect in terms of the overall underlying repetitive tune pattern.

Himesh's line, JAISE DIL DEKHEEE (HISTORY sudden fulltu high pitched desperation emphasis vocals) EEEN - NNN (quick descending twist) from 4.30 to 4.31 whereby he expresses all his pain due to tadap n ehsaas is the BEST part of the song and it is the key reason why this is the best sad sung song by Himesh.

After high-pitched penetrating vocals DEKHEEN is the almost non-existent soft soothing subtle vocals AAAA (down) - AAAAA (half note up) between 4.37 & 4.39 which are history notes whereby Himesh really plays with the listeners pulse here! Hats off sir!

From 4.58 onwards, the fast paced violin flicks depict a sense of lost urgency of the crisis situational dilemma (note the dying effect till the very end in of great cause.

Highlights of this song:

1. Himesh reshammiya's DARD BHARI AWAAZ with haunt feel that completely shatters the listener.

2. The underlying rhythmic beats with a terrific repetitive tune pattern that strangely instead of being peppy is actually quite sadistic.

3. Fast paced violin flicks, guitar riffs and pleasant subtle traditional flute.

4. Additional desperation plea male croons.

It was a pity that there was no music video for this song or else the audio visuals would have left the viewer gutted.

Vaada Tainu

This is the song which transformed Himesh Reshammiya into "ustad" himesh resdhammiya.

The underlying beats have a good dose of tabla beats.

The harmonium theme piece plays from 0.05 to 0.22

Himesh's line, WAADA TENU (off-da-hook passionate emphasis vocals, crooned in high-pitch with all his might) from 0.22 to 0.24 & 0.31 to 0.32

Himesh's line, VEEEE (pours his heart out with prolonged twist) from 0.27 to 0.28 & 0.35 to 0.37 have deep emotional pain and the intermittent raga tune enhances this feel.

Himesh's line, AAKHIYAAAA (twist) AAAAAAAA (prolonged) from 0.43 to 0.45 has tadap and ehsaas.

The claps behind the mukhda lines give good rhythm.

Himesh's line, DOOR (awesome halke se twist) at 0.54

In the core mukhda lines, Himesh's third jai-YONA from 1.00 to 1.01 & 1.32 to 1.34 is da best note.

Himesh's line, YAAAAAA (prolonged) AAAA (up desperation plea twist) from 1.15 to 1.19 & 5.06 to 5.08 follows a similar pattern of the prolonged twist in line HAAAAAA (prolonged) AAAAI (up desperation plea twist) from 2.32 to 2.35 in SACHE AASHIQ from SHAADI SE PEHLE and line AAAA (prolonged) AAA (up desperation plea twist) from 2.26 to 2.30, 2.32 to 2.35, 4.18 to 4.22 & 4.24 to 4.27 in MAINE CHUN LIYA from DIL MAANGE MORE. 

Between mukhda & 1st stanza, a pleasant combo of bansuri / traditional flute and Indian string based instrument from 1.38 to 2.00 brings thehrav to proceecings. The harmonium theme piece is back from 2.00 to 2.09 along with a chime effect towards da end.

1st stanza

Himesh sings with tadap and ehsaas with slogan effect in last word of his lines.

Himesh's line, LAMHE BITAAYEEEEEE (prolonged) EEE (awesome quick profound emphasis twist) from 2.11 to 2.13

The raga and harmonium give good intermittent effect.

Himesh's line, TUM - MM - MM (awesome 2 step descending twist) from 2.28 to 2.29,

Himesh's line, HAA (OFF-DA-HOOK full-throated inner vocals from within, dil ki awaaz me kya kashish hai) LATH from 2.38 to 2.39 is sung as if he takes a deep heavy outward breath simultaneously whilst singing to fully express and let out his inner tadap, one of his awesome trademark sufi-rwak vocal effect! 

Himesh's line, NAAAAAA (prolonged dying effect) from 2.59 to 3.01 that depicts lots of desperation and longingness is yet another of his trademark sufi-rwak finishing effect.

Between 1st & 2nd stanza, the profound tabla pattern in unplugged mode along with elongated sufi instrument piece from 3.19 to 3.34 adds a sufiana touch. The harmonium theme piece is back from 3.35 to 3.44 along with a chime effect towards da end.

2nd stanza

Himesh's line, YUN TOH MILENGE is himesh's trademark sufi rwak slogan that depicts da hapless state of an optimistic lover. 

Himesh's line, V(off-da-hook intense emphasis singing) ADA TENU from 4.16 to 4.17 reminds of the great Ustad Ataula Khan (who was renowned for his saddistic songs and voice).

Himesh's line, WAADA (demanding vocals joh apne aashiq koh naseehat de rahe hain to oblidge) from 4.29 to 4.30 

Himesh's line, NAAAAAA (prolonged dying effect) from 4.34 to 4.35 that depicts lots of desperation and longingness is yet another of his trademark sufi-rwak finishing effect.

Himesh's vocals with the quick metal stick taps on matka from 5.26 to 5.39 that give a raw-ish semi-plugged effect give an impression that da song is in its penultimate stages. 

Just hear Himesh roar the line TENU (with echo effect, dil ki pukar!) from 5.26 to 5.27 and line WEEEE (weeps/sobs his heart out) from 5.31 to 5.32 followed by an awesome intermittent Rajasthani folk instrument from 3.22 to 3.24 

But just as da listener thought that da song would end, its graph picks up again with the tabla beat pattern from 5.40 to 5.42 and by da time da combo of Himesh's vocals and harmonium piece in SYNC arrive again from 5.43 onwards, da listeners are compelled to be involved in and symphatize with da protagonists misery, which makes for an overall thought provoking process in this final journey moments. 

Highlights of this song:

1. Ustad himesh reshammiya's singing variarions comprising of passionate intense vocals with tadap, kashish and ehsaas, off-da-hook high pitehced desperation emphasis and trademark sufi-rwak slogans (in stanzas) and finishing effects like prolonged dying effect that show off his versatility. 

2. Underlying rhythmic tabla beat pattern and intermittent clap effect. 

3. Harmonium theme piece with ending chime effect, intermittent raga tunes, pleasant combo of bansuri / traditional flute and Indian string based instrument in between 2nd stanza gap, profound tabla pattern in unplugged mode along with elongated sufi instrument piece in between 2nd stanza gap, uick metal stick taps on matka and Rajasthani folk instrument towards da end.

At a time when Himesh was rwaking with those killer numbers, he also unleashed another facet of soft semi-classical touch with this song and banaras soundtrax.

This silently conveyed two things.

Firstly, Himesh's fundamental core basics as a composer can never be questioned because he possesses strong command over 'raga'.His melodies are simpler versions of complicated 'uljhi vi' hard core classical raga tunes.

Secondly, while completely dominating the sufi-rwak genre, he will also slowly but surely establish his ustad status which will be acknowledged in coming future.

Only hard-core Sufi-Rwak singers can do full justice to this song which is not da cup of tea of typical conventional hindustani singers no matter how hard they try. 

This is where this song scores as it allows Himesh - da singer to showing another facet of his singing mettle and prowress.  

Nachle Its Folkish

Ready to have a good time with Himesh and shake a leg too, in a folkish way because the title and lyrics of this song are a clear cut invitation!

The song begins with a tune and energetic male croons (HAI, AAHA) that were similarly used in SIGDI from FOOL N FINAL which was the version 2 of this song.

The tune along with male vocals from 0.29 onwards sets the undertone.

The raw drum beats from 0.39 to 0.42 are great.

The main dhol beats kick in from 0.42 onwards and the male vocals go crazy from 0.46 to 0.48

Himesh's high-pitched FOLKISH followed by a raga tune connect in an emotionally way, god knows why but a similar feeling was felt in SIGDI that is supposed to be peppy but some parts give an emotional feel especially 2nd stanza.

Himesh's lines NACHLE LE * 3 YAAR are feel good and SLOGANS from 1.15 to 1.19

Between mukhda & 1st stanza, a folkish tune plays along with a flute skip pattern.

1st stanza

Himesh keeps up the energy levels up in his singing to match up with the peppy beats.

Himesh's lines from 2.27 to 2.40 follow a fixed formula of repetitive hooks and make the listener sway with joy especially they were dancing after having some booze or bhang in.

Between 1st & 2nd stanza, a synthetic tune plays followed by male chants and profound underlying beats.

2nd stanza

Himesh keeps up the energy levels up in his singing to match up with the peppy beats.

Himesh's lines from 3.46 to 3.59 follow a fixed formula of repetitive hooks and make the listener sway with joy especially they were dancing after having some booze or bhang in.

From 4.39 onwards, Himesh throws in some nazal twang.

From 5.02 onwards, the raw drum beats hit followed by energetic croons are a perfect finish.

Highlights of this song:

1. Himesh's energetic vocals especially the line FOLKISH followed by raga tune strike an emotional chord in an otherwise feel good song.

2. The underlying peppy beats with heavy dose of dhol beats, energetic male vocals and all the folkish tunes.

If this song is played in a social function organized by Himesh fans, it is very difficult not to have a blast of a lifetime on the dance floor whereby if this song is played.

If a Himesh fan still watched silently from the sidelines, then they missed one heck of a kodak moment which would be a pity.

AKS was such a master piece and had variety. The sound was different than his usual bollywood albums and yet it connected big time.

Verdict

In terms of stature, Aap Ka Suroor in post ABA era is what Tere Naam was in pre ABA era. Both these albums are EVERGREEN KLASSIK BESTSELLERS in their respective eras and have smashed existing records n set new benchmark levels in terms of commercial musical sales. Hence, these two albums showcase what himesh reshammiya is made up of n what he is all about, and when he will be remembered by future generations these 2 albums won't be far behind in terms of recognition of his cream work. Ofcourse, himesh can only himself break his own records in da future with his forthcoming albums!

Himesh Reshammiya's debut pop album remains to be his best sung n composed album till date.

This album gives himesh - the composer the scope to experiment with his sound and break away from the usual conventions of da norm.

Himesh plays totally safe with the starting couple of songs Tera Suroor and Naam Hai Tera which are as catchy as they can get and ensures that this album would 'catch da eye' and be 'in da face' of one and all, but the real experimentation begins from song 3 onwards whereby pain is the name of da game, emotional feel quotient runs very high and phrases like saddism and desperation plea come to da forte as if tradegy has struck da helpless lover.

Still one can argue that how about the 11 best/opening songs of Himesh's other filmi albums in same timeframe vs these 11 songs in AKS!

But where this album scores in totality is that it takes the listener by a pleasant surprise in da sense thay they didn't expect such melodies from himesh reshammiya who was a specialist in delivering back to back love duets with an occasional item number in his very recently gone by pre-ABA days, hence it is a complete 360 turn around whereby he covers some serious new ground.

Himesh tries to cover various genres with each song having its one USP and making its impact in its own unique way.

Songs like Aashiquana Hai Dil, Mere Lamho Ki Aarzoo and Chhed De Pyar Di Baat make a good impression in initial hears and they grow strongly to catchy da listeners pulse with every passing repeat hear and music arrangement / orchestration is also da key in doing so.

Himesh also ensures that there are bright peppy moments with songs like I Love U O Sayyoni & Nachle Its Folkish after shattering, devastating and depressing da listener with Chahe Gila Karo.

Another area where this album scores is the 'emotional connect' due to the sad songs whereby Himesh 'wins over hell lot of sympathy' courtesy due to that killer voice straight from bottom of heart and coupled with sad music videos.

The 'curiosity level' factor also works in its favor as listeners were looking forward to what Himesh would offer in his first full-fledged outing in a composer-singer combo avatar courtesy due to ABA Title Trax that generated max mass hysteria followed by catchy chartbuster Jhalak. Himesh capitalized on this advantage and 'hit da iron when it was red hot' or rather went an extra step to 'hit da bulls eye n nail da coffin in da head' and this 'optimal timing' showed the modern street-smart sensibilities of Himesh - the businessman in addition with the natural god gifted talent of Himesh - the musician.

So here we have a perfect combo option of songs whereby da listeners would like to enjoy out there at nite in discotheques (which are all about Himesh - the rockstar's status) and at the same time songs whereby da listeners would like to stay back at home and silently weep / cry behind their blankets in their beds at nite (which are all about Himesh's cap and long beard look with da mystery of a non-existent smile).

Hence, Himesh kills both birds with one stone.

This album is a gem of a masterpiece and it isn't termed as a signature collection for nothing whereby the listeners realize that 'joh awaaz rooh se nikal ke dil ko chu jaaye, woh awaaz himesh reshammiya ki hai...the man with da golden evergreen voice'!

It arrives like a musical hurricane / storm onto da pop scene and creates musical ripples at top of da charts for a continuous sustained long period, completely steals da show and smashes records all over to become a true bestseller (like Tere Naam in da pre-ABA era). 

in each of his first 3 music videos of Aap Ka Surroor, Himesh launched models that would go on to become known actresses i.e. Tera Surroor (Minisha Lamba), Naam Hai Tera (Deepika Padukone) and Samjho Na (Sonal Chauhan).

My Picks

1. Naam Hai Tera (himesh's best ever sung n composed song till date, tied along with ABA TITLE TRAX).

BEST EVER Himesh 'sung n composed' song till date in all genres, along with AASHIQ BANAYA AAPNE TITLE TRAX - tie. It gave max sensations when heard first in promos. In music video, check out Himesh's expression's from 1.31 to 1.33 as walks backwards smiling with mike & raises hand as if he has CONQUERED DA MUSICAL WORLD by delivering a MASTERPIECE. Underlying beats are laidback rhythmic. HISTORY lines in this song: KHWAHISH (fulltu high pitched) from 2.19, YEEEEE (gradual voice rise) EEE (voice shake with echo effect) from 2.32 to 2.38 & 4.03 to 4.08, DIL KI -IIIII (fulltu high pitched) from 2.39 to 2.41 & 3.56 to 3.58, Other terrific lines: TERA (terrific twist gets listeners into da zone) from 1.44 to 1.45, TU - OOOOON (deliberate nazal deepening effect gives sike) from 2.27 to 2.28, NAZREE (terrific twist) from 3.44 to 3.56, NA (halke se feel twist) JOD NA-AAAAA (feel good desperation plea twist) from 3.56 to 3.40, Himesh's voice fluctuation at high pitch due to quick repetitive twists from 2.33 to 2.38 is path breaking singing from Himesh - the Sufi Rwak singer. Fun Intended, if any parents want to make their new born babies a Himesh fan from the very outset, then play them Himesh's line UUU OOO NNN, UUU OOO NNN in between 2nd stanza gap, so that the baby will also cry in that Tone and henceforth will become a Himesh fan forever for life.

2. Tera Suroor (one of himesh's best sung n composed songs till date).

It is a history song that features in his ultimate top 5 sung n composed songs list. Himesh's line, TANHA RAATEEEE (terrific twist) EEIN from 2.22 to 2.23. Himesh's stanza lines, IS DARD KA (utter soothing feel) EHSAAS (terrific note composition) PUCHO NA from 3.03 to 3.06 is BEST MELODY in 1st stanza. Himesh's line, RAB HI JAANE (awesome middle octave impact) YE PYAAS (terrific note composition) KAISI HAI from 4.18 to 4.21 is BEST MELODY in 2nd stanza. Both these stanza lines have HISTORY typical unique HR melody. Himesh's line, TERA (OFF DA HOOK vocals) at 4.16

3. Chahe Gila Karo & Samjho Na (tie)

Chahe Gila Karo

Himesh's BEST SAD 'sung n composed' song till date 'AUDIO-WISE', whereby Himesh's dard bhaare painful vocals with tadap are truly well capable of shattering the listener. Is gaane mein, Himesh ki gaayeki mein 'DIL SE NIKLI HUI AAH' hai, depicting that a tradegy has struck between the lovers relationship, and hus the song has a very strong emotional konnekt. Himesh's line, jaise dil DE - KHEEEN (HISTORY sudden abrupt high pitched vocals with an ADDITIONAL WHEEZ) from 3.05 to 3.06 & 4.31 to 4.32 are the key to depict all the 'dard, tadap n ehsaas' felt by the helpless lover due to separation. The laidback guitar riffs from start to 0.18 that depict da HELPLESSNESS of lover, if one imagines / visualizes how da guitarist would be strumming it live, as if Himesh asked him to play it with a total feeling of DEJECTION to get da desired output. Also his HISTORY desperation plea line, DOOR - DOOR - DOOR - DOOR from 0.35 to 0.37, the lyric selection along with gradually rising notes depict da actual feeling as if his lover is going far away and should be stopped somehow. This line is an example of how a musician n his lyricist are thinking on da same lines and are at da same wavelength, to create such a combined output in terms of desired feel. Himesh's twists on line REHNA-AAA (profound emphasis twist) from 0.33 to 0.34, 0.38 to 0.40 & REHNA-AAA (subtle feel twist) from 1.25 to 1.27 just bowl over, win over n konnect with da listener.

In musical reality shows whenever Himesh's daddy Shree Vipinji came and uttered that his elder son was taken by god, and even Himesh said in AKS - The Moviee that he hardly smiles coz his bro passed away, and his dialogue that "Bhagwan ka screenplay bhi ajeeb hai", in the sense Himesh has so many fans who are hooked onto and enjoy his songs day and night, but his bro didn't get to hear those great compositions. So whilst singing painful sad songs, somewhere he remembers him and that tadap n ehsaas is reflected in his voice, and thats why it touches so many people i.e. lines TUM DUR DUR DUR DUR NA REHNA he tries to establish an eternal connection. But one thing is sure, that wherever his brother is, he will be extremely very proud of Himesh and all his achievements.

Himesh's line, O JAANE TAMANNA-AA-AA (HISTORY painful twist, wins over listener) from 0:32 to 0:34 (along with historic combo of clap effect and guitar riffs) & 1:25 to 1:27, TUM DOOR-DOOR-DOOR-DOOR (HISTORY gradually rising notes) from 0:35 to 0:37 & 0:40 to 0:42, REHNA-AA (HISTORY profound quick twist) from 0:38 to 0:39, REHNA-AAAAA (HISTORY prolonged desperation plea vocal throw, dil se nikli hui tadap aur pukar) from 0:42 to 0:44...2nd stanza lyric, BAITHO JOH TUM MERE SAAMNE TUMHE HAAL-EDIL SUNAU, KITNI MOHABATEIN TUMSE HAI TUMHE AAJ MEIN SUNAU i.e. come sit in front of me, i will tell you my state of heart and how much love i have for you...it seems simple lyric but has a deeper meaning as lover wants some time and an opportunity to explain his side of things to his estranged lover. 

Sameer ji is such a great lyricist, in the way he mixes 2 words into 1 shortened meaningful word e.g. in Chahe Gila Karo from Aap Ka Surroor, the line...O JAANE-TAMANNA, Tum Door Door Door Na Rehna...the word JAANE-TAMANNA is mixture of 2 words JAANE (lover) TAMANNA (desire) whereby the word JAANE-TAMANNA means 'the lover which i desire'...and it fits perfectly into the overall line, Chahe Gila Karo Chahe Shikwa Karo (whether you complain)...O Jaane-Tamanna (my desired lover), Tum Door Door Door Na Rehna (don't go very far).

This song deserved a music video to do full justice to its potential 'konnekt' with the audience segment in order to make a bigger hit than it was.

Samjho Na

Best Himesh 'sung n composed' SAD song in terms of both 'AUDIO-VISUALS'. Video has additional rhythmic beats that elevate the song. The classical raga tune along with Himesh's vocals from 1.57 to 2.05 give great total melody impact. In the music video, Himesh's desperation plea facial expressions say it all from 2.17 to 2.57 along with depressing semi-plugged beats, the grief of losing his lover in terms of 'i wish she could be mine' feeling. Also, when Himesh arrives to congratulate at marriage, n gives a thumbs-up from 4.53 to 4.55 & hugs his lover's dad, touches feet n walks away out of disappointment from 5.17 to 5.38 is heart-breaking. In the video, the graph of story is awesome in the manner in which it unfolds...i.e. from childhood friends / lovers...to loss of separation due to arranged marriage...and finally to wedding whereby Himesh sacrifices his love for sake of her family's grace n reputation.

4. Mere Lamhoo Ki Aarzoo, Aashiquana Hai Dil & Chhed De Pyar Ki Baat (tie).

Mere Lamhon Ki Aarzoo

Mukhda hook line, Bas Tum Ho * 2 has pre ABA melody notes, while remaining mukhda lines, Mere Lamho Ki Aarzoo...Meri Tanhai Ke Saathi, and stanza lnes have Sufi Rwak compositional style. From 0.27 to 0.32 & 0.36 to 0.38, the unplugged QUICK STRING HIT PATTERN is OFF DA HOOK and gives SIKE. BEST PART in song is Himesh's line , BAS TUM (high pitch) HOOOOOOOOOOOOOO (off-da-hook prolonged intense emphasis, goes into a fast lane n high obsessed state of trance) - OOO (off-da-hook desperation plea up twist) from 0.55 to 0.59 & 1.25 to 1.29 along with tune sur gives terrific overall effect, followed by a quick MATKA/POT beat effect from 1.00 to 1.02 & 1.30 to 1.32 that gives completeness effect to his preceeding lines. Himesh's line, BAS TUM (off-da-hook singing) HOOOOO (off-da-hook halke se feel) from 1.35 to 1.37. The orchestration in between both stanza gaps take the listener down the memory lane and into flashback mode. A CUTE synthetic tune piece from 3.33 to 3.41 in between 2nd stanza gap gives kick.

It is an example of a Himesh song with music arrangement n orchestration par excellence, where even the minute things are given attention to detail. The song finishes on a rather abrupt note, with Himesh's line, HOOOOOO (prolonged alienish croons) after which the underlying beat cuts off abruptly to mark the song's end, n it shows the desperation n helpless state of lover longing for his loved one. Gaana premi ki bebasi ke saath khatam ho gaya aur woh kuch nahi kar paaya, aur uski fariyaad aadhi adhuri hi reh gayi, n the pain n heartbreak caused due to this leaves an impact after song is over.

After listening to this song since Aap Ka Suroor album released, i thought of it as a 'Decent' song. But the more i played it over the years, the more i liked it. In fact, it is the my most played song from AKS album these days n gotten addictive, n i have finally come to realize n appreciate that this song is Historic. Yes, it is nowhere near Himesh's most catchiest tunes, but the whole arrangement par excellence, the hard core Sufi Rwak beat pattern and the catchy repetitive riffs in it, the instrumental interludes in between stanza gaps, n the way it is sung. Everything in totality make it a Historic song, it is a special n masterclass song by Himesh.

Aashiqana Hai Dil

Himesh's stanza lines are sung in high pitch with intense arrogant feel vocals, as if he is demanding his love...jaise ke kisi premi ke ishq ka junoon uske saar char ke bol raha hai. Himesh's line, JAANE-NA JAANE-NA (off-da-hook profound twist, followed by off-da-hook computerized vocal nazal echo effect) from 3.59 to 4.09

Himesh's lines in stanzas, ISHQ HAI IK, AISI AADAT (off-da-hook fulltu high pitched vocals) from 2.08 to 2.12, JAANATON KE (off-da-hook fulltu high pitched arrogant feel vocals), KHWAB (off-da-hook fulltu high pitched vocals) DEKHE from 2.16 to 2.19 in 1st stanza...MERI BAATON, KE JAHAAN MEIN (off-da-hook fulltu high pitched vocals) from 3.10 to 3.14, KARNA CHAHU, YA NA CHAHU (off-da-hook fulltu high pitched vocals) from 3.18 to 3.22 in 2nd stanza

It is an intense song that runs on an express highway in a speedy fast lane without any traffic, which causes a soar of adrenaline rush (jazba) and heightened state of rage n emotional sentiments (jazbaath n junoon). It is a musical drug n a dose of adrenaline nitrate which gives 'trip' to the listener n takes them to a high state of trance in the middle of nowhere i.e. a mysterious place with scorching roads on both sides which are basically dead ends with mercury/hot molten lava flowing on the sides.

5. Tu Yaad Na Aaye, I Love U O Sayyoni & Waada Tenu (tie).

Tu Yaad Na Aaye Aisa Koi Din Nahi

It is a sadistic song whereby the lover is grieving in remembrance of his loved one after tragedy has struck, as depicted by Himesh's expressions when he is sitting alone on the bench from 1.51 to 1.54, 3.25 to 3.29, 3.53 to 3.56 & 4.17 to end. Himesh's line, NAHI (emphasis vocals) at 1.04 & 1.13 is sung with heavy unforgettable sigh. Off-da-hook underlying retro sound along with mighty bazz trumpet and funky guitar piece from 2.31 to 2.49 in between 2nd stanza gap. Himesh's lines in 2nd stanza, TU NA JAANE AE MEHBOOBA, ME TERE ISHQ MEIN KITNA DOOBA (OFF-DA-HOOK breathless middle octave emphasis vocals) from 3.26 to 3.34, Himesh's line, TU YAAD NA YAAD NA YAAD NA from 4.01 to 4.07 is as if he is pleading to almighty that is there any way for his lover to return back from the heavens. The emotional bansuri piece at end from 4.17 onwards depicts the desperation feel that is caused due to state of helplessness (bebasi n laachari) of the surviving lover.

In the audio song (and not music video), Himesh knows how to catch the classical pulse of the listener i.e. the 2 ending profound tabla hits from 0.58 & 1.25 catch the listener's classical pulse in overall context of the overall tabla pattern, and Jayesh Gandhi's quick intense croon from 2.09 to 2.10 catches the listeners classical pulse in overall context of his classical vocals from 1.57 to 2.15 in between 1st stanza gap. Off-da-hook underlying retro bazz sound along with extended feel good saxophone piece plays from 2.16 to 2.34 in between 1st stanza gap. Underlying beat is comprised of 2 heavy laidback drum hit pattern that was also similarly used in the underlying beat of DEKHU TUJHE PYAAR AAYE from APNE.

In its music video, rite at the end, Himesh is sitting on the bench n he looks downwards, n the emotional feel bansuri plays at the end of song. Its terrific use of this bansuri piece for the kill effect of conveying the feelings and helplessness state of the lover i.e. Himesh can remember the girl, but cannot do anything more beyond that other than remembering her each day.

The backdrop from 1.05 to 1.31 & 2.31 to 3.25 when Himesh is dining with the family in outdoors, n there are palm trees n sea shore behind, n also at nite from 1.39 to 2.03, 2.18 to 2.21 & 3.53 to end when there are glittery lights, snowflakes falling n a guy plays violin, n Himesh sits on the bench, has great ambiance.

having seaside brunch during good times

I Love U O Sayyoni

The model is so pretty with lovely eyes in its music video which has a great concept. Underlying foot tapping kickass quick profound heavy DHOL hit pattern gives foot tapping kick. Himesh's croons, YEEEEEA (off-da-hook fulltu high pitched) from 0.05 to 0.07, 0.13 to 0.14 & 0.21 to 0.23, Himesh's line in OST version, TUJH PE HAI (off-da-hook fulltu high-pitched) from 0.26 to 0.27 & 0.55 to 0.56

Waada Tenu

BEST PART of song is Himesh's lines, WAADA TENU (off-da-hook fulltu high-pitched) from 0.22 to 0.24 & 0.31 to 0.32, YAAD NA RAKHIYAAN WE (literally pours his heart out) from 0.25 to 0.28 & 0.33 to 0.36

6. Nachle Its Folkish

If a listener wants to forget all their worries n tension vension and dance bindaas in 'jhoom barabar jhoom' mode with ecstasy, then there is none better Himesh song to dance on, other than this.

The original version of Samjho Na in ACD is ranked 4th (tie). However, there is another version of Samjho Na in the youtube video with additional rhythmic beats throughout da song which elevates to a higher level and this version would rank 3rd in above list.

Remixes

Naam Hai Tera - Remix

The BEST remix. RWAKIN fluctuating Calypso beat 0.24 to 0.41 builds up da song. Catchy vibrant elektronika remix tune plays in between 1st stanza gap from 1.18 to 1.33, The rhythmic heavy CLAP effect from 1.42 to 1.57 & 2.44 to 2.59 makes da song foot tapping. [for time stamp refer to OST remix, not music video]

Himesh and Deepika Padukone's performance is rwakin in their military uniform attire.

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