aksar

Music review analysis of Himesh Reshammiya's album Aksar (2006).

Jhalak Dikhlaja

This is a vintage killer Himesh Reshammiya Sufi Rwak number which is sung in the middle octave except for a few higher pitched notes. 

The underlying rhythmic beats are similar to AASHIQ BANAYA AAPNE TITLE TRAX, AAKHIYON SE GAL KAR GAYI from SHAADI SE PEHLE and BADI DILCHASPI HAI from 36 CHINA TOWN in terms of underlying 1 bit SHARP beats that belong to da same Waltz instrumental set. These underlying rhythmic Waltz beats have an OFF-DA-HOOK sharp hit pattern (with awesome instrumental quality!) which is just rwakin, this sharp beat makes its presence in da music video as well.

Usually the shehnayi is used to mark a sad occassion, but Himesh uses the Shehnayi theme piece in a CULT wicked way from 0.03 to 0.26 for a great build up is great followed by the full rhythmic beat that kicks in from 0.21 onwards.

The underlying fluctuating bazz sound from 0.26 onwards is of great cause.

Himesh croons his prolonged well structured vocal theme piece UUUUUUUU that gave him immense fame in ABA.

The fast paced tabla beats from 0.47 to 1.04 are great.

At 1.13, the song becomes semi-plugged with only the 1 bit beat skips which is da BUILD UP PART while himesh croons ek baar aaja aaja AAJA (terrific at 1.14) aaja aaja, after which the fast paced KICKASS beats just HIT IT and deliver da KILL EFFECT from 1.16 to 1.17 that remind of the kickass beats from 0.56 to 0.57 in ISHQ KIYA KIYA from ANTHONY KAUN HAI.

The music arrangement in terms of its overall intended purpose i.e. BUILD UP (semi-plugged beats) followed by KILL EFFECT (fast drum-roll beats) from 1.13 to 1.17 was similarly used in ISHQ KIYA KIYA from ANTHONY KAUN HAI from 0.49 to 0.56

Himesh's lines from 1.30 to 1.54 are sung in the middle to lower octave.

From 1.56 to 2.17, the additional beats are effective.

Himesh's line, jhalak dikhlajAAAAA (terrific profound low twist) from 2.01 to 2.02

Between mukhda & 1st stanza, Himesh is back with his off-da-hook well structured catchy SOULFUL KILLER croon UUUUU from 2.19 to 2.26 whereby he pours his heart out, and his gradual voice deepening from 2.25 to 2.26 gives JAZBA, followed by an effective violin piece. Fast paced kickass beats just hit it from 2.34 to 2.35

1st stanza

Himesh sings in middle octave on a simple well strutcured tune pattern, especially the lines BAATEIN, MULAKATEIN, PAANA, PAGALPAN HAI, DHADKAN HAI which have middle octave emphasis.

The intermittent combo of fast paced tabla beats and been (snake) piece from 2.44 to 2.48 & 2.57 to 3.01 is of good cause.

Fast paced kickass beats just hit it from 3.17 to 3.18

Between 1st & 2nd stanza, his prolonged powerful vocal alaap TUR TUR TU TUR from 3.19 to 3.35 (catchy from 3.33 to 3.35), TUOOOON (prolonged nazal deepening effect) from 3.35 to 3.36 will bring a smile on da listeners face out of its OFF-DA-HOOK cheekiness but it is damn catchy. Fast paced kickass beats just hit it at 3.44

2nd stanza

Himesh's lines, ZARE ZARE SE ME TERI AAHAT SUNTA HU (catchy middle octave impact vocals) from 3.45 to 3.48 get da listeners into da zone whereby they feel it big time. 

Himesh sings in middle octave on a simple well strutcured tune pattern, especially the lines GHERAYI, PECHANE & JAANE which have middle octave emphasis.

The intermittent combo of fast paced tabla beats and been (snake) piece from 3.53 to 3.57 & 4.06 to 4.10 is of good cause.

From 4.19 to 4.21, the song becomes semi-plugged with only the 1 bit beat skips and himesh fully expresses himself with the 3rd AAJA at 4.20 (HIGH NOTE DESPERATION PLEA EMPHASIS) is HISTORY & BEST PART. The resonating power of the high pitch frequency in 3rd AAJA from 4.20 to 4.21 is very well capable to establish a connection link with the dead and force them to AAJA from their graves and scare passing by villagers, to which they will cautiously react by murmuring to the nearby lurking spirit ZARE ZARE SE ME TERI AAHAT SUNTA HU [fun intended].

This high pitch is very well capable to establish a connection link with aliens and force them to AAJA [fun intended].

After this BUILD UP part, himesh delivers the KILL effect in form of fast paced kickass beats that just HIT IT from 4.21 to 4.23

Highlights of this song:

1. Himesh's vintage vocals (forceful emphasis in mukhda & middle octave impact in stanzas).

2. The intermittent bazz sound, fast paced tabla and wicked shehnayi piece.

3. The underlying beats and the KICKASS fast paced drum-roll beats.

4. The build up when song becomes unplugged and HR croons ek baar aaja aaja (3rd AAJA, HISTORY) and the kickass beats hit it again is the best part of this song.

Lagi Lagi

This passionate intense song between two lovers craving for love (as depicted in its music video) showcases the prowress of Himesh's middle octave vocals.

The song begins with a subtle mesmerizing heavenly tune in unplugged more (jaise dhua sa uth raha hai jannat mein) followed by Sunithi's penetrating feel good croon UUUU YEAH, that is representative of the arrival of bright sunrise after a cold morning.

Himesh gives it his mighty all with line LAAAAGI (intense emphasis vocals with abrupt leave echo finishing effect) from 0.16 to 0.20 & 0.26 to 0.32, with emphasis on LAGI (awesome halke se voice rise) from 0.24 to 0.25, & LAA - AA - AA (awesome fulltu high-pitched voice rise) from 0.26 to 0.27

From 0.32 to 0.43, Sunithi's subtle low-pitch lines make an impact, especially LAGI-HIII (feel good higher note) from 0.35 to 0.37, and DHUN (stylish innovative hin-glish pronounciation) from 0.39 to 0.40

The raw drum hit pattern from 0.45 to 0.47 gives sahi desired effect followed by the heavy metal bazz guitar sound intermittently at 0.53, 0.56, 0.58, 1.00 and so on that builds up sike in between proceedings.

From 0.58 to 1.11, Jayesh belts out high-pitched desperation plea croons

The laidback raw drum hit pattern from 1.12 to 1.14,  1.23 to 1.24 & 1.48 to 1.49 give a perfect launch pad.

Himesh delivers a solid middle octave impact from 1.14 onwards.

His lines PREM DHUN from 1.27 to 1.28 & 2.05 to 2.06 are very well sung.

The fast paced tabla beats from 1.29 to 1.32 & 2.08 to 2.10 give sahi desired effect.

OFF-DA-HOOK high-pitched male intense emphasis croons LAGI from 1.29 to 1.47 & 2.08 to 2.10 that accompany Himesh's vocals enhance the overall impact.

Himesh's line, LAGI - EEE (feel good high note variation) at 1.42 &1.47

Sunithi's lines from 1.49 to 2.00 strike a chord, with emphasis on IK DARD HAI (lower note variation) from1.55 to 1.56

Himesh's lines, LAGI (terrific desperation emphasis plea twist) from 2.04 to 2.05, & LA (halke se twist) GI LAGI LA (low subtle feel classical twist) from 2.13 to 2.15

Between mukhda & 1st stanza, a computerized new-age tune piece plays followed by female seductive feel croons and Jayesh's desperation plea croons in between 2.18 & 2.38 followed by a catchy Indian string based Instrument piece from 2.39 to 2.34

1st stanza

Himesh's alaap, OOOOOO (terrific prolonged voice deepening emphasis alaap, wah kya sur pakda hai himesh ne apni stanza lines shuru karne se pehle) from 2.42 to 2.44 followed by quick tabla beats from 2.44 to 2.46 gives perfect kick start to stanza.

The metal bazz guitar plays intermittently throughout the stanza to give vibrancy to proceedings.

Himesh's line, KHUSHBOO (great twist) from 2.53 to 2.54, RUBAROO (great twist) from 2.58 to 2.59, & KAHIIIIIIIII (prolonged twist) from 3.09 to 3.13 followed by breath taking sunithi's vocals.

Himesh's BEST lines in stanza, TERA TERA TERA (terrific profound middle octave impact) from 2.55 to 2.56 gets da listeners into da zone and make them feel it.

The continuous mysterious ambient tune from 2.54 onwards in background gives terrific tune sur.

Himesh's line, LAGI (awesome feel) at 3.15

Between 1st & 2nd stanza, the bazz trumpet is joined in by a majestic new-age heavenly sound (jaise dhua sa uth raha hai jannat mein, or as if blast of mystic gaseous steam is being released on outer planets like Jupiter and Pluto) in between 3.30 & 3.50 followed by catchy Indian string based instrument piece from 3.51 to 3.54.

2nd stanza

From 3.54 to 3.56, OFF-DA-HOOK drum hit pattern as if the musician was testing out his instruments is followed by himesh's alaap OOOOOO ((terrific prolonged voice deepening emphasis alaap, wah kya sur pakda hai himesh ne apni stanza lines shuru karne se pehle) gives perfect kick start to stanza.

The metal bazz guitar plays intermittently throughout the stanza to give vibrancy to proceedings.

Himesh's lines TERE * 3, TERI * 3 & GHADI * 3 in between 3.56 & 4.13 have profound middle octave impact.

The continuous mysterious ambient tune from 4.08 onwards in background gives terrific tune sur.

Himesh's line, PEER (awesome intense emphasis singing) at 4.14

Himesh' line, HAIIIIIIIII (prolonged twist) and sunithi's breath taking vocals from 4.21 to 4.27 give mesmerizing effect.

Himesh's lines, LAGI (awesome rising desperation plea notes) at 4.29, & LAGI LAGI from 5.04 to 5.06 have subtle feel variation in comparison to his other such lines.

The fast paced profound tabla beats that kick in from 5.08 to end were used for similar effect from 4.53 to end in TUTEYA VE from SHAADI SE PEHLE.

Highlights of this song:

1. Himesh's soothing and penetrating middle octave impact vocals.

2. Sunithi's refreshingly breath taking seductive feel croons with a vibe like a blast of mystic fresh air that are used innovatively by himesh for a rather unique vocal cameo (just like he used Suzanne D'Mello's seductive feel croons in songs like Belibaas (start & stanza gaps), Meri Chaandi Tu / Lets Spend Da Nite Together (start & 2nd stanza gap), Teri Galiyon Se (2nd stanza gap & at da end), Aakhiyon Se Gal Kar Gayee (start), I Love U 4 What U R (1st stanza gap) and Good Boy Bad Boy Title Trax (1st stanza gap).

3. The heavy metal bazz guitar, bazz trumpet, new age computerized tune piece, majestic heavenly sound effects, catchy Indian string based instrument tune, laidback raw drum hits and additional tabla beats to give sahi derired effect.

4. The continuous mysterious ambient tune from 2.54 & 4.08 onwards in background of both stanzas that gives terrific tune sur.

5. Jayesh Gandhi's intense desperation plea croons and additonal OFF-DA-HOOK high-pitched male intense emphasis croons LAGI from 1.29 to 1.47 & 2.08 to 2.10

Soniye

The song beings with a continuous groovy tune in unplugged mode along with Siemens ring tone from 0.04 & 0.32 that was similarly used in between 0.02 & 0.25, 4.10 & end in DIL NE YEH NA JAANA from RED - THE DARK SIDE, and from 4.59 to end in KUCH MEETHA HO JAAYE SONG, that signifies a morning sunrise dawn where by birds are chirping n flocking together along with KK’s passionate croons.

The underlying laidback rhythmic beat kicks in from 0.33 onwards along with a fluctuating bazz sound from 0.39 onwards and a repetitive off-da-hook computerized phone line tone from 0.46 onwards that is used throughout the song.

The feel good synthetic guitar tune from 1.04 to 1.06, 1.10 to 1.12 & 1.21 to 1.23 gives great intermittent effect to KK’s vocals.

KK’s lines, CHAAHAT (awesome desperation plea) from 1.07 to 1.08 & 1.15 to 1.16

The BEST PART of song arrives with KK’s subtle feel croons on core melody of mukhda lines TERE BINA MERI SUBHA NAHI CHALTI TERE BINA MERI SHAAM NAHI DHALTI TERE BINA MERI JAAN HAI PIGALTI from 1.23 to 1.31 along with tabla hit pattern that catches the semi-classical pulse of listener, gives overall halke se kick.

Between mukhda & 1st stanza, Sunithi belts out some passionate feel good English croons along with a continuous metal bazz guitar that joins in from 1.54 onwards to cause some rush of adrenaline and give jazba.

1st stanza

KK’s croons with passionate vocals, with emphasis on lines INTEHA HAI (awesome halke se feel) from 2.10 to 2.12 & 2.19 to 2.21

His line, SIWA HAI-AAAAAAA (prolonged high pitched) from 2.26 to 2.30

The BEST PART of song returns with KK’s subtle feel croons from 2.30 to 2.37 along with tabla hit pattern and semi-plugged beat skips.

The feel good synthetic guitar tune in between gives good intermittent effect.

The whoosh effect from 2.37 to 2.39 is of great cause.

Between 1st & 2nd stanza, female seductive vocals from 2.50 to 3.00 are followed by a subdued violin piece from 3.01 to 3.11

2nd stanza

KK’s croons with passionate vocals, with emphasis on lines BAARISHON MEE (awesome halke se feel) from 3.17 to 3.12, KHWAHISHON MEIN (awesome halke se feel) from 3.26 to 3.28

His line, NASHE ME – EEEEEEEE (prolonged high pitched) from 3.33 to 3.37

The BEST PART of song returns again with KK’s subtle feel croons TERE BINA MERI SUBHA NAHI CHALTI TERE BINA MERI SHAAM NAHI DHALTI TERE BINA MERI JAAN HAI PIGALTI from 3.37 to 3.45 along with tabla hit pattern that catches the semi-classical pulse of listener, gives overall halke se kick.

The feel good synthetic guitar tune in between gives good intermittent effect.

Sunithi Chauhan arrives late into scene to elevate the song to greater levels.

Her lines from are sung with passionate feel.

The BEST PART of song returns again with her croons from along with tabla hit pattern that catches the semi-classical pulse of listener and gives overall halke se kick, with emphasis on her lines MERI SUBHA NAHI (terrific classical twist) from 4.08 to 4.09, MERI SHAAM NAHI (terrific classical twist) from 4.11 to  4.12, JAAN (terrific desperation plea) from 4.14 to 4.15

Her whole hearted croons SONIYE (off-da-hook fulltu high-pitched) in between 4.18 to 4.27 is vintage Sunithi doing what she does best.

The continuous bazz metal guitar kicks in from 4.39 onwards to give this song a rock touch.

The song ends with repetitive computerized phone line tone echo effect.

Highlights of this song:

1. The underlying repetitive laidback rhythmic beats along with fluctuating bazz sound and repetitive computerized phone line tone pattern.

2. KK’s subtle feel croons and Sunithi’s whole hearted passionate feel croons.

3. Siemens ring tone at start, metal bazz guitar in between 1st stanza gap (and towards the end), subdued violin piece in between 2nd stanza gap, feel good synthetic guitar tune in mukhda and stanzas and semi plugged beat skips in 2nd stanza.

4. Female seductive feel croons in between 2nd stanza gap crooning something Alien-ish.

This song is a class act by Himesh and the ideal mood to hear it is at dusk/sunset.

Mohabbat Ki

Himesh Reshammiya & Tulsi Kumar come together for a power packed number.

The song starts with a lovely feel good tune.

The underlying beats from 0.16 onwards are very high on energy level and accompanied with bazz guitar.

Himesh's line DIL (sung as DWIL) at 0.26 is terrific singing.

The line TUJH-EEEE (twist) at 2.27, AKSAR (soothing feel) at 0.34, DIL TUHJE (feel good) from 0.35 to 0.37

Himesh's lines YAAD KARTA HAI YAAR make an impact.

From 0.43 to 0.50, the lines are soothing with emphasis on MERE & HOOOO

The additional 5 hit beats from 0.51 to 0.52 give sahi desired effect.

The lines from 0.52 to 1.06 are like slogans, and underlying bazz guitar sound is great.

Himesh goes full throttle with lines TUME PANE KEE (high note).

Himesh's singing on gradually descending composition pattern on line KOSHISH from 1.10 to 1.12 & 2.15 to 2.17 gets the listener into da groove.

The tune of core mukhda lines JAANABE JAANIYA are inspired and are an elongated version of the lines JANABE ALI from BARDAASHT.

Emphasis on Tulsi's melodious sweet lines TUME PANE KI & KOHSISH (with echo effect).

Himesh's prolonged line HAAAAAAI along with additional beats from 2.18 to 2.21 is great.

Between mukhda & 1st stanza, a guitar piece plays along with lively underlying beats.

1st stanza

Himesh's lines are slogan type, with emphasis on HAAI (high note) - AAA from 2.57 to 2.58

Tulsi's lines are likeable and the key is the unplugged beat whereby the bazz guitar effect is max.

Himesh's prolonged line HAAAAAAI along with additional beats at 3.24 to 3.27 is great.

Himesh's line JANAA- BE (feel good) at 3.41

Between 1st & 2nd stanza, the lovely feel good tune at start of song plays.

2nd stanza

Himesh's lines are slogan type, with emphasis on HAAI (high note) - AAA from 4.10 to 4.11

Tulsi's lines are likeable and the key is the unplugged beat whereby the bazz guitar effect is max.

Himesh's lines MERE JASBOH KI BAARISH (gets listener into da groove from 4.26 to 4.27) have great lyrics.

Himesh's prolonged line HAAAAAAI along with additional beats at 4.37 to 4.40 is great.

The overall effect is scintillating when Himesh and Tulsi croon the core mukhda lines from 4.40 to 4.56 and the place is turned into a night club.

Himesh's line JAANA - BE (feel good) at 5.03

Highlights of this song:

1. Himesh's combo of soothing and power-packed vocals and Tulsi's sweet melodious vocals.

2. The underlying lively energy filled beats, the lovely feel good tune and heavy bazz metal guitar.

3. The additional 5 hit beats to give sahi desired effect.

Loot Jayenge

The beat pattern along with raw drum beats remind of underlying beats of DIL LAGAYENGE from SHAKA LAKA BOOM BOOM.

The peppy beats have a groovy retro feel to them.

Kunal sings with feel good vocals.

The female croons in between and behind his vocals enhance the groovy nature.

His lines GE-EE(feel good) at 1.31, 1.33, 1.38, 1.40, 2.22, 2.24, 2.29 and 2.31.

But it is Jayesh's trademark high-pitch croons that do the trick from 1.43 to 1.58, 2.34 to with emphasis on lines KA-RE-AA (twist with echo effect) from 1.52 to 1.54, RE-AA(down)-AA(down)-AA(down) from 1.57 to 1.58, and from 2.34 to 2.41 with emphasis on twists in KARE

The tune sur from 1.48 to 1.49 gives awesome overall groovy retro effect when heard in context of the full line.

The raw drum beat pattern in between the mukhda lines also gives great intermittent effect.

Between mukhda and 1st stanza, a groovy tune piece plays

1st stanza

Kunal sings with feel good vocals along with Jayesh's added vocals and drum beat effect.

But once again, it is jayesh's middle-to-low pitched vocals from 3.24 to 3.32 that steal the show as he breaks away from his usual high-pitched singing and shows his versatility. This variation strikes a chord!

Jayesh's croons from 4.04 to 4.05, 5.41 to 5.42 are impactful as he fully expresses himself.

The theme piece of Aksar plays from 4.05 to 4.18

2nd stanza

Kunal sings with feel good vocals along with Jayesh's added vocals and drum beat effect.

The mix of Jayesh's low pitch at 5.27, 5.31, 5.34, 5.38 with his usual high-pitch croons is awesome.

The theme piece of Aksar plays from 5.42 to finish, and the drum beats give sahi desired effect.

Highlights of this song:

1. Kunal's feel good vocals and Jayesh's high-pitched and low-pitched croons.

2. The seductive groovy vocals and theme piece, peppy beats with groovy retro feel to them and raw drum beats for effect purposes.

3. This song is mostly sung by Kunal but it actually totally belongs to Jayesh Gandhi.

Without his catchy repetitive hook, this song would lose both its zing and identity.

Pre-ABA, every album had atleast 1 item number so such songs are not a surprise from HR considering his rich legacy of earlier such works.

Jhalak - Unplugged

The key in this song in terms of music arrangement is the sharp 1 beat hit pattern, the fast tabla beats pattern and the bazz trumpet (notably the regular 3 key hits) behind and alongside Himesh's vocals.

Theme Of Aksar

The theme piece starts with a likeable piano piece in unplugged mode until 0.38

From 0.39 to 1.02, female groovy haunt vocals plays along with intermittent cute tune and loud seductive whispers.

The laidback proceedings are brought to a halt when the theme suddenly changes tempo from 1.03 to 2.16, when the full beats with an underlying retro sound kick in along with intermittent drum/dhol beats, followed by piano piece and male haunt vocals. The harmonica piece plays from 1.47 to 2.01 and the trumpet piece plays from 2.01 to 2.15

From 2.18 to end, the female groovy haunt vocals bring back the subtle laidback mode.

Lagi Lagi - Remix

BEST and most RWAKIN remix of the album. The underlying free flowing heavy beat gets da listener's foot tapping to its rhythmic groove

My Picks

From Himesh's "sung n composed" songs:

1. Jhalak Dikhlaja.

In terms of RWAK, this is Himesh's most KILLER Sufi-Rwak number. The starting shehnaayi piece from 0.04 to 0.26 is WICKED CULT. The underlying free-flowing beats have a sharp 1 bit Waltz hit pattern. Himesh's line, LA-JAAA (off-da-hook profound catchy twist) from 2.01 to 2.02, The rwakin semi plugged sharp waltz beat along with Himesh's lines AAJA AAJA AAJA from 1.13 to 1.15 & 4.19 to 4.21 is BUILD UP part, followed by full on mast kickass fast drum roll beats from 1.16 to 1.18 & 4.22 to 4.23 that give the KILL EFFECT and tremendous kick to the listener. BEST PART in song is Himesh's lines, AAJA AAJA AAJA (OFF-DA-HOOK high-pitched desperation plea, vocal kill effect) from 4.19 to 4.21 with semi-plugged beats followed by fast-paced DRUM-ROLL beats from 4.22 to 4.23 that give TREMENDOUS KICK. Himesh's core mukhda tag line, AAJA AAJA AAJA AAJA AAJA (catchy repetitive hook) used throughout the song, agar koi bhi kisi koh itni SHIDAT se pukaare ga, toh phir duniya ki koi bhi taqat un dono ko milne se nahi rok sakti aur jisko bhi pukaara hai, usko har haal me majhbooran wapas laut ke aana hi parega. Mukhda tag line is comprised of catchy repetitive hook AAJA * 5 whereby Himesh gives variation in singing it, and his BEST variation is given in the 3rd AAJA that gives MAX impact to this overall repetitive hook i.e. 3rd AAJA at 1.14 which is OFF-DA-HOOK singing, and 3rd AAJA at 4.21 which is FULLTU singing that gives the vocal kill effect. Himesh's well structured croon UUUUU in between 1st stanza gap from 2.19 to 2.26 is SOULFUL KILLER, and his gradual voice deepening from 2.25 to 2.26 gives JAZBA. Himesh's line, TUOOOON (off-da-hook prolonged nazal deepening effect) from 3.35 to 3.36 in between 2nd stanza gap. The BEST LYRIC is ZARE ZARE SE MEIN TERI AAHAT SUNTA HOON from 3.45 to 3.48 in 2nd stanza, which gets the listeners into da zone and makes them feel it big time.

mukhda tag line is comprised of the repetitive hook AAJA * 5 whereby HR gives variation in singing it, and his BEST variation is given in the 3rd AAJA that gives MAX impact to this overall repetitive hook i.e. 3rd AAJA at 1.14 which is OFF-DA-HOOK singing, and 3rd AAJA at 4.21 which is FULLTU singing that gives the vocal kill effect.

2. Lagi Lagi.

It is a seductive feel song. OFF-DA-HOOK high-pitched male intense emphasis croons LAGI from 1.29 to 1.47 & 2.08 to 2.10 that accompany Himesh's vocals enhance the overall impact. Himesh's BEST LINE in 1st stanza is TERA TERA TERA (terrific profound middle octave impact) from 2.55 to 2.56 gets da listeners into da zone. OFF-DA-HOOK drum hit pattern from 3.54 to 3.56, Himesh's BEST line in 2nd stanza PEER (awesome intense emphasis singing) at 4.14,

It has one of the best singing of Himesh in his middle octave range, especially in the stanzas. He should compose n sing more songs in this middle range. Sunithi sings with wholehearted mystic croons. Jayesh Gandhi pours his heart with classical croons, especially in between 1st stanza gap. Mukhda is raag based, especially the line LAGI LAGI LAGI, PREM DHUN LAGI (awesome mukhda lyric) from 2.13 to 2.18, Himesh's line, LAGI LAGI LAGI-III (off-da-hook desperation plea emphasis twist) from 1.25 to 1.26 & 2.04 to 2.05, Himesh's line, TERA TERA TERA (terrific profound middle octave impact) from 2.55 to 2.56 gets da listener into da zone, PEER (awesome intense emphasis singing) at 4.14, KHAMOSH MEIN SAURAAM HAI (terrific singing) from 4.19 to 4.23, New age orchestration in between 1st stanza gap and majestic outer space heavenly orchestration in between 2nd stanza gap. Off-da-hook quick tabla hit pattern from 2.44 to 2.46 and off-da-hook drum hit pattern from 3.54 to 2.56, Himesh's line, OOOOOO (off-da-hook killer jaan leva alaap) from 2.42 to 2.44 & 3.54 to 3.56 before start of stanzas.

3. Mohabbat Ki.

Best lines in this song are the INTRO lines...Aksar, Dil Tujhe (trademark pre ABA twist, killer tone with off-da-hook profound emphasis twist where pours his heart out) from 0:26 to 0:28, YAAD KARTA (terrific desperation plea) HAI (tadap)...AKSAR (terrific sooth feel), DIL TUHJE (awesome feelgood twist), YAAD KARTA HAI YAAR...MERE PYAAR KI AAZMAAYISH HO RAHI HAI (awesome middle octave twists).

From Himesh's "composed only" songs:

1. Soniye.

Underlying beat is LAIDBACK RHYTHMIC with a fluctuating bazz sound. Off-da-hook repetitive COMPUTERIZED PHONE LINE TONE pattern is used throughout. The starting with constant ambient groovy tune, chime ringtone effect and KK's passionate croons is as if the sun is slowly rising at dawn and birds start to wake up and flock, as the dew is slowly clearing. BEST melody of song is KK's SUBTLE FEEL mukhda hook lines, TERE BINA MERI SUBHA NAHI CHALTI TERE BINA MERI SHAMM NAHI DHALTI TERE BINA MERI JAAN HAI PIGALTI along with TABLA HIT PATTERN that catches listener's classical pulse from 1.21 to 1.30, 2.30 to 2.37 (off-da-hook semi plugged) & 3.37 to 3.44 (Sunithi's part) that gives HALKE SE KICK and GETS DA LISTENER INTO DA ZONE. Sunithi's line, GEHRA-AAAAA (terrific prolonged twist) from 4.05 to 4.07, TERE BINA MERI SUBHA NAHI CHALTI (terrific classical desperation plea singing), TERE BINA MERE SHAAM NAHI DHALTI (terrific classical desperation plea singing) from 4.09 to 4.13, SONIYE (off-da-hook fulltu highpitched whole hearted croon) in between 4.18 to 4.26, JAAN (terrific desperation plea) at 4.14, This song is a class act by Himesh.

2. Lut Jayenge

Best melody is Jayesh Gandhi's emphasis croons on repetitive hook line RABBA VE RABBA KHAIR KARE intermittently throughout the song.

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