koi_aap_sa

Music review analysis of Himesh Reshammiya's album Koi Aap Sa (2005).

Seene Mein Dil

The main underlying beat has a guitar sound pattern that hits in sets of 3 after a repetitive gap i.e. from 0.56 to 1.00 and this idea of sound pattern gap for "overall effect" and "not the instrument" was similarly used in underlying beat of DEEWANAPAN DEEWAANGI from MAIN AISA HI HOON.

From 0.29, note the keyboard pattern flick from down notes to up notes.

From 0.44, the tune piece is great. It is on the lines of ending of both stanzas.

From 0.56 to 1.00, the underlyig beat can be heard clearly, the string plucks are great.

At 1.10, Udit is at his soothing best with TERI (remember TERE at 0.35 & 0.37 in TERE NAM - SAD, and PEEEE from 1.44 to 1.45 in DIL KI DARO DEEWAR PE from FEAR)

From 1.49 to 2.05, the soothing female chorus do their UUUUUU.

Note the tune sur at 2.19 and 2.22

At 2.24, TERA (MAXIMUM MELODY in the whole song).

1st stanza

From 2.59 to 3.04 & 3.10 to 3.15, the added female chorus along with alka's vocals give HAUNTING MELODY.

Yeh kaisa pyar hai, followed by TUNE SUR (2 keys i.e. normal note up note) from 3.32 to 3.33 (vital effect).
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From 3.46 to 4.02, female chorus soothing UUUUU.

From 4.27 to 4.38, haunting female chorus.

2nd stanza

From 4.44 to 4.49 & 4.55 to 5.01, the added female chorus along with alka's vocals give HAUNTING MELODY, AARZOO, SAANSON, KASAK (emphasis).

teri dosti ki khushboo followed by TUNE SUR (2 keys i.e. normal note up note) from 5.18 to 5.19 (vital effect).

From 5.32 to 5.47, female chorus soothing UUUUU.

TUNE SUR from 6.00 to 6.02 & 6.04 to 6.05, great pattern.

ehsaas HAI * 3, the ending part melody is splendid.

Highlights of this song:

1. At 2.24, TERA, MAXIMUM MELODY in the entire song.

2. Alka yagnik's melodious vocals and udit's soothing vocals.

3. The female chorus UUUU that gives haunting melody.

4. Tune sur wherever mentioned.

Seene Mein Dil - Female

Alka's line, TERA from 2.24 to 2.25 gets melodiously heavy on da listeners and strikes a melodious chord with them.

Alka's vocals on Himesh's high pitched notes give striking melody impact i.e. her line HAAAAIIIIIIIII (HISTORY prolonged super high pitched melody) from 0.26 to 0.29, 2.26 to 2.28 & 6.09 to 6.17

The musical knowledge of any composer can also be known by how he mixes his orchestration with vocals i.e. Alka's line, HAR PYAAS MEIN followed by majestic rising flick of lower key notes from 6.00 to 6.02, DARD HAI SANAM followed by majestic rising flick of higher key notes from 6.03 to 6.05, the intermittent tune piece compliments her vocals to make the overall lines more catchier. Such fine nuances separate great composers from good composers.

Aadat Ho Chuki

The song starts with a wind like percussion (cutting-edge techno) instrument followed by an oriental flute piece.

The intermittent heavy clap type sound effect that hits repetitively at regular intervals to build up the song i.e. at 0.18, 0.20, 0.22, 0.24 and so on was similarly used at 0.45, 0.48, 0.50 and so on in CHAHE GILA KARO from AAP KA SUROOR.

A groovy beat plays joins in from 0.26 onwards along with a wicked alienish cult female voice in between 0.29 & 0.35, 0.50 & 0.52

A quick well structured mesmerizing tune piece plays from 0.35 to 0.43 followed by an Arabian theme piece from 0.43 to 0.52

Jayesh Gandhi croons with his might from 0.52 onwards, with emphasis on line RABBA (awesome feel twist) from 0.59 to 1.00

The male chorus HO (normal) HO (4 keys down) HO (2 keys up) from 1.03 to 1.05 is terrific composition that provides completeness effect to Jayesh's desperation feel croons.

The rhythmic free flowing beats kick in from 1.05 onwards.

The fast drum roll beats from 1.13 to 1.14 give perfect kick start to Sunithi Chauhan's vintage vocals that are tailor made for such numbers.

The tune pattern from 1.14 to 1.31 is great build up, especially twists in DIL & MUSHKIL.

Sunithi's line, BEKA (awesome twist) RARI from 1.31 to 1.32

From 1.36 to 1.37, a STUNNING TECHNO instrument sets da adrenaline flowing (just hear it roll!). It is like heavy duty machinery in a manufacturing plant, blast furnace or a roller blade that rotates & makes a whooshing sound when an attached string is pulled with mighty force!

Sunithi's line, TERI - II - II (terrific catchy twist, waah kya sur pakda hai!) from 1.38 to 1.40, 1.45 to 1.47 & 1.51 to 1.53 along with simultaneous beat hit gives kill effect to the build up caused by techno instrument.

Da listener feels instant sike with the bazz trumpet hit at 1.55

The bazz trumpet that plays with a 2 hit pattern i.e. down followed by full note up (at 1.57, 1.59 & 2.03), down followed by half note up (STUNNING variation) at 2.01 along with Shaan's vocals gives KICK.

Shaan's and Sunithi's lines, MERI - II - II - II - II (HISTORY prolonged quick descending twist pattern and vocals) from 1.34 to1.36 & 2.06 to 2.08

Second time around, da listener is waiting for the cutting edge techno instrument in unplugged mode from 2.09 to 2.10 that builds sike and the kill effect is delivered by Shaan's line TERI at 2.11 along with simultaneous beat hit.

Shaan's line, HOO (awesome quick up down twist) CHUKI (TERRFIC feel twist) from 2.13 to 2.14, TERIII (deliberate intense emphasis vocals that give KICK) from 2.15 to 2.16 & 2.20 to 2.21

Between mukhda & 1st stanza,a peppy Rajasthani folk tune piece plays from 2.22 to 2.38 followed by Arabian theme piece from 2.39 to 2.48 along with intermittent wicked cunning male vocals.

1st stanza

Sunithi's lines MERI (twist) from 2.49 to 2.50, TERA (twist) from 2.52 to 2.53

Sunithi's line ADA-AA-AA-AA-AA (prolonged rising twist-n-turn) from 2.55 to 2.57 that comes from Himesh's sufi-rwak composition style was similar to Shreya's prolonged abrupt up twist NIKHAAR from 4.20 to 4.21 and prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA.

The tune sur at 2.50, 2.52, 2.58 & 3.00 is great accompanying effect for female vocals.

Sunithi's line, HOOO (terrific voice rise) from 3.36 to 3.37

Between 1st & 2nd stanza, cute groovy tunes plays.

2nd stanza

Himesh asks Shaan to adjust his singing style to sound like pre-ABA 'in-da-house' numbers he sung.

From 4.11 to 4.28, Shaan sings with deliberately feel good arrogant.

Shaan's line JAGA-AA-AA-AA-AA (prolonged rising twist-n-turn) from 4.18 to 4.19 that comes from Himesh's sufi-rwak composition style was similar to Shreya's prolonged abrupt up twist NIKHAAR from 4.20 to 4.21 and prolonged abrupt up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 in TERE DIL KA from KOI AAP SA.

Shaan's line madhoshiYOON KAAA (quick twist), chalka DHUA HAAI (quick arrogant feel good twist) from 4.20 to 4.24 is awesome.

From 4.28, Jayesh's RABBA (passion from 4.35 to 4.36) along with female and male AADAT AADAT create good overall effect.

From 4.41 to 4.49, Shaan's singing is SIMPLY RWAKING and the overall effect of his lines and bazz trumpet pattern (up down, especially STUNNING half note at 4.47) gives SIKE.

From 4.54, Shaan croons aadat ho chuki hai teri (the techno instrument reminds the listener of its sheer greatness) followed by female chorus AADAT AADAT.

From 5.00 to 5.06, CHUUUKIIIII (feel twist), TEREEEEIIIIII (deliberate feel good arrogant vocals).

The song finishes in the way it started.

Highlights of this song:

1. A great composition by himesh which is very typical characteristic of him.

2. The mast kickass beats along with cutting edge techno instrument and bazz trumpet played at right places behind Shaan's voice.

3. Shaans ajusted singing style, especially from 2.06 to 2.08, merIII (classical twist) IIIII (twist) IIIII (twist) IIIII (twist )IIII (twist), HISTORY descending twist vocals.

Baandh Mere

The rising bazz techno pattern in the beginning is awesome.

The retro groovy sound from 0.08 to 0.15 acts as great build up.

The new-age harmonica tune from 0.16 to 0.31 is the theme piece in essence.

The flute is used in an interesting way from 0.31 to 0.43

More often than not, either KK or Shaan would be heard for a HR peppy number but Sonu had also started to make in roards into this genre with this song and Just Chill.

The soothing female chorus croon in between sonu's mukhda lines give good build up.

Sonu's lines from 0.43 to 1.06, 1.52 to 1.59 are catchy with emphasis on lines OH BAWARIYA from 1.07 to 1.09, 2.00 to 2.02 gives a terrific melodious kick.

Jayesh does his usual thing from 1.09 to 1.10

The underlying retro groove sound from 1.11 to 1.14, 1.26 to 1.30 was also present in DIL DI NAZAR from MAINE PYAR KYUN KIYA.

Sunithi's lines from 1.30 to 1.38 are catchy with emphasis on lines OH SAWARIYA from 1.38 to 1.40 gives a terrific melodious kick.

Sunithi's lines from 1.15 to 1.26, 1.41 to 1.52, 2.02 to 2.13 are the core phrase lines of the mukhda and they follow the fixed formula of HR's repetitive hooks. The underlying dholak beats behind these lines give the desired effect.

Between mukhda and 1st stanza, the new-age harmonica theme piece is back followed by an awesome synthetic traditional 'rajasthani' tune pattern.

1st stanza

The composition pattern from 2.29 to 2.45 is simple yet effective and is sung with feel good vocals.

The 2 sets of techno beats from 2.30 to 2.31, 2.32 to 2.33, 2.34 to 2.35, 2.36 to 2.37, 2.38 to 2.39, 2.40 to 2.41, 2.42 to 2.43 and 2.44 to 2.45 were also used in DIL SE JUDA EHSAAS HAI TU (TAARZAN – THE WONDER CAR) at 4.47

Sonu's feel good lines from 2.45 to 3.01 gets the listener foot-tapping and into the groove, courtesy also due to the peppy beats. These lines are well structured, i.e. MAHIYA (feel good twist) VE (higher note) from 2.47 to 2.49 and from 2.55 to 2.57, MAHIYA (feel good twist) VE (normal/lower note) from 2.51 to 2.53 and from 2.59 to 3.01

Sameerji always threw a mix of English lyrics in songs of such genre.

Once again, Sonu's line OH BAWARIYA gives a melodious kick, also due to the 1 beat hit at 3.11 for overall impact purposes.

Between 1st and 2nd stanza, the synthetic tune is followed by feel good male and female chorus and a groovy new-age tune.

2nd stanza

The composition pattern from 3.46 to 4.02 is simple yet effective and is sung with feel good vocals.

The 2 sets of techno beats in between these lines were also used in DIL SE JUDA EHSAAS HAI TU (TAARZAN – THE WONDER CAR) at 4.47

Sunithi's feel good lines from 4.02 to 3.01 gets the listener foot-tapping and into the groove, courtesy also due to the peppy beats. These lines are well structured, i.e. MAHIYA (feel good twist) VE (higher note) from 4.04 to 4.06 and from 4.12 to 4.14, MAHIYA (feel good twist) VE (normal/lower note) from 4.08 to 4.10 and from 4.16 to 4.18

Sameerji always threw a mix of English lyrics in songs of such genre.

Once again, Sunithi's line OH SAAWARIYA gives a melodious kick, also due to the 1 beat hit at 4.27 for overall impact purposes.

The male and female vocals along with jayesh's high pitched croons give the song a classical touch.

Highlights of this song:

1. Sonu's and Sunithi's feel good vocals.

2. The underlying retro groovy sound, the dholki beats behind mukhda tag lines, the harmonica theme piece, 2 sets of repetitive techno beats in stanzas, the peppy beats behind English lines in stanzas.

3. Jayesh's croons along with male and female chorus.

Tere Dil Ka

This is a sad song depicting friendship (when one friend understands emotions and cares).

From 0.22 onwards, Jayesh Gandhi's OOOOOO OOOOOOO is mesmerizing, especially at 0.34 & 0.43

Jayesh's CATCHY croons, DIL SE DIL KA RISHTA JOH HAAAAAI (HISTORY high pitched) from 0.47 to 0.48, PAL DO PAL MEIN MIT THA NAHI-IIII (HISTORY quick profound emphasis feel twist whereby he literally pours his heart out) from 0.53 to 0.54, BANDHAN DILON KA-AAA (HISTORY high pitched vocals that konnekt n strike a chord) from 0.56 to 0.57, TOOT TA NAHI-II (HISTORY quick abrupt emphasis twist gives kick) at 0.59, BANDHAN DILON KA TOOT THA NAHI (OFF-DA-HOOK catchy twist) from 1.03 to 1.05, This is one of the 'best ever' typical unique HR melody pieces in pre ABA era.

From 1.14 to 1.18, string pattern is good.

Sonu sings with soothing vocals and the finger snaps enhance the subtle feel.

The underlying drum beats are subtle and laidback.

The feel good trumpet plays from 1.30 to 1.40 & 2.03 to 2.13

The prolonged up twist HAAAAI from 1.33 to 1.35 & 2.06 to 2.08 was similarly used from 2.28 to 2.29 & 4.20 to 4.21 in MAINE CHUN LIYA from DIL MANGE MORE.

At 1.38, two tabla beats give sahi desired effect, followed by female chorus behind lines TERE DIL KA gives awesome soothing effect.

Between mukhda & 1st stanza, a likeable sharp synthetic piano piece plays.

1st stanza

At 2.50, two subtle tabla beats are of great cause.

At 2.56, mujhkOOOOOO sunnnnnNNNNNNNN (great feel and emotion).

At 3.10, HUM SUNNNNNNNNNNNNNN (great feel and emotion).

From 3.01 to 3.02, tune sur (normal, up 2 notes, down) is great.

From 3.16 to 3.25, Jayesh casts his magic with OOOOOO especially at 3.18, MINDBLOWING.

The feel good trumpet plays from 3.25 to 3.27

At 3.38, female chorus TERE DIL KA is very soothing.

Between 1st & 2nd stanza, the soothing female chorus do their UUUUUUU and the overall sequential rising pattern is great. The keyboard/piano flick from left to right from 4.08 to 4.10 is something Himesh used a lot in his PRE-ABA songs.

2nd stanza

From 4.12 to 4.13, two subtle tabla beats are of great cause.

A cute instrument tune plays from 4.13 to 4.17 & 4.36 to 4.37

From 4.17 to 4.23 & 4.33 to 4.37, HAI SUNNNNNNNNNNNNNNNN (great feel and emotion).

From 4.17 to 4.23 & 4.33 to 4.37, HAI SUNNNNNNNNNNNNNNNN (great feel and emotion).

From 4.23 to 4.24, great tune sur (normal, up 2 notes, down).

From 4.38 to 4.46, Jayesh casts his magic again with HOOOOOOO, especially at 4.40

The feel good trumpet plays from 4.47 to 4.49

At 4.59, female chorus TERE DIL KA is very soothing.

At 5.11, the soothing FEMALE chorus kicks in followed by the mesmerizing HOOOOOOOOO that is very catchy.

Highlights of this song:

1. One of the HISTORY croons of Jayesh Gandhi, especially NAHI and WOOOOOO (as mentioned above).

2. Soothing female chorus.

3. Underlying subtle laidback drum beats, finger snaps to enhance the subtle mood, feel good trumpet, synthetic piano piece, cute tune and subtle tabla beats for sahi desired effect.

In essense, whilst this song that supposedly belongs to Sonu Nigam, its Jayesh Gandhi that ends up hitting a sixer, steals da show, takes da honors in the limited scope he is given with his starting catchy croons and HOO - OOOO alaap intermittently throughout. He proves time and again that he is a star.

Koi Aap Sa

Frankly, one does not expect Himesh to compose such songs in terms of musical arrangement which have an oldern feel setting to them, reminding of the song TUMHI SE (CHUP CHUP KE).

The song starts with pleasant oriental sound along with a cute instrument.

The quick piano flick from 0.17 to 0.19 has been similarly used in umpteen pre-ABA songs.

Alka arrives with her melodious vocals followed by soothing female chorus.

The mukhda tune is pleasantly likeable with a déjà-vu feel.

Sonu sings with his usual subtle feel vocals.

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

1st stanza

The background tune keys behind Sonu's lines are cute.

Sonu's lines JAZ-BAAAAT (feel twist) at 2.46

The tune sur behind line AASHNA from 2.50 to 2.51 is interesting.

Sonu's line deewana-PANNNNN (prolonged feel good twist) from 3.00 to 3.01

The soothing female chorus joins in from 3.05 to 3.14

Between 1st & 2nd stanza, a likeable piano piece pattern plays followed by a pleasant flute

2nd stanza

Alka's lines are melodious with emphasis on KOOO (melody feel) at 4.08

The tune sur behind line EHSAAS HAI from 4.12 to 4.13 is interesting.

Sonu's line, bechain (subtle feel) -MANNNNN (prolonged feel good twist) from 4.21 to 4.23

The soothing female chorus joins in from 4.46 to 4.54 and also finishes off the song.

Highlights of this song:

1. Alka's melodious vocals and Sonu's subtle feel vocals.

2. The soothing female chorus.

3. The underlying beats, pleasant oriental flute, piano piece and likeable trumpet give this song its feel good identity.

This is yet another song by Himesh that one would expect to hear by a live band in a posh restaurant.

Or simply put, this may be as well a tribute to Himesh's idols Laxmikant – Pyarelal (who gave a thumbs up to Karzzzz's soundtrax).

Kabhi Na Sukoon

Udit begins this song with utter soothing vocals in unplugged mode.

The string based theme piece from 0.41 onwards (with an inherent twist) is very much a HOUSEHOLD instrument that HR has used umpteen times as instrumental theme pieces in his pre-ABA love ballads like MERI NAS NAS MEIN TUM HO from DIL NE JISE APNA KAHAA.

 Traditional laidback drum skips from 0.51 onwards.

The female chorus cast their spell from 1.02 to 1.23

The tune sur from 1.10 to 1.12 is incredible.

The soothing chorus UUUU returns followed by 3 sets of lazy heavy beats from 1.21 to 1.22

The profound dholak beats with a quick repetitive skip pattern effect that kick in from 1.23 onwards were similarly used from 0.41 onwards in MERI NAS NAS MEIN TUM HO from DIL NE JISE APNA KAHA and from 1.39 onwards in TERE NAAM TITLE TRAX.

The unplugged line DEEWANAPAN from 1.33 onwards followed by innocent tune sur at 1.35 gives awesome overall melodious effect. It emotionally connects.Waah!

The twists in lines AAYA at 1.38, 1.41, 1.43 & 1.46 are likeable.

Udit's lines, jab se hai TUMPE at 1.48, MUJHKO (awesome rising composition pattern) from 1.49 to 1.50

From 2.08 onwards, the soothing hi-pitched female chorus UUUUUU and household string tune is back.

The tune sur from 2.28 to 2.34 & 2.42 to 2.46 is key to enjoy Alka's lines.

Alka's line MUJHKOOOO (twist) from 2.48 to 2.49 is very well sung.

Alka's line, PYAR AA (quick emphasis typical unique HR melody twist) YA from 2.38 to 2.39 & 2.50 to 2.52 was similarly used in her line, PAL (quick emphasis typical unique HR melody twist) at 2.44 in YEH DIL TOH MILA HAI from DIL NE JISE APNA KAHA and her line, HAI (quick emphasis typical unique HR melody twist) from 3.36 to 3.37 in O MAKHNA VE from TAARZAN - THE WONDER CAR.

Between mukhda & 1st stanza, the soothing female chorus UUUU along with profound intermittent tabla beat from 3.04 to 3.12 that was similarly used at 2.53 & 2.56 in AAP KA AANA from KURUKSHETRA, & from start to 0.03 in KUCH MEETHA HO JAAYE from KMHJ, and lovely piano piece combine to give an awesome overall effect.

1st stanza

The lazy 3 heavy beats from 3.25 to 3.26 kick start the stanza.

Alka's line YEE (awesome quick twist) from 3.27

From 3.40 to 3.50, the combo of daffli and traditional drum skips behind udit's soothing vocals.

His unplugged line, JAGNE LAGA followed by innocent tune sur is just wonderful. It emotionally connects. Waah!

The tune sur from 4.06 to 4.09 is key.

Udit's line KARAAR AAYAAAA (twist) from 4.07 to 4.08 is very well sung with feel factor.

Between 1st & 2nd stanza, the likeable piano piece plays followed by string tune and subtle female chorus. The gradually rising keyboard flick from 4.43 to 4.47 is simply splendid.

2nd stanza

Same pattern as 1st stanza.

Alka's lines MEEE (awesome quick twist) at 4.50, SAPNE (terrific profound quick twist) from 4.58 to 4.59

From 5.03 to 5.13, the combo of daffli and traditional drum skips behind udit's soothing vocals.

His unplugged line, MAJHBURIYA followed by innocent tune sur is just wonderful. It emotionally connects. Waah!

Alka's line MUJHKOOO (off-da-hook twist) from 5.46 to 5.47

From 5.48 onwards, the soothing female chorus is in full form and takes the song to its highest point, with emphasis on line AAYA (typical unique HR melody twist). 

The ending tune sur gives sike albeit to a very little extent.

Highlights of this song:

1. Udit's subtle soothing vocals especially DEEWANAPAN, JAGNE LAGA, MAJBURIYA and Alka's melodious vocals especially PYAR AAYA.

2. The household string theme piece, soothing female chorus, likeable piano flicks, traditional drum skips, the innocent tune sur and lazy 3 tabla beats in beginning of stanzas.

3. The lines in capital letters are added emphasis.

Boy oh boy, I so very much miss such melodies from himesh nowadays, I really do.

Himesh bhaiya, kripya karke aapna yeh formula wapas istemaal kijiye! Patienty waiting since long!

Kabhi Na Sukoon - Sad

The unplugged beat is just what the doctor ordered for the right feel of this song.

The starting piano piece from start to 0.07 is mesmerizing.

The household string based instrument with an inherent twist plays at a slower tempo from 0.07 onwards.

The well structured groovy tune pattern from 0.21 to 0.32 is likeable.

Alka sings with haunting melodious vocals with emphasis on jaa-NUUUUU (prolonged desperation feel) from 0.40 to 0.41, theh-RAAAA (quick down feel twist) at 1.03

Udit sings with soothing feel vocals with emphasis on AAEE at 0.50 that reminds of lines PEEEE from 1.44 to 1.45 in DIL KI DARO DEEWAAR PE from FEAR, and TERE from 0.35 to 0.37 in TERE NAAM – SAD.

The traditional drum skips from 1.28 onwards are similar to the ones used from 0.53 onwards in TERE NAAM – SAD.

My Picks

1. Aadat Ho Chuki

The song begins and ends with a strong wind whoosh effect as if a hurricane is on its way. A catchy tune piece plays from 0.35 to 0.43. The underlying beats from 1.06 onwards are rhythmic free-flowing. BEST part of this song is Shaan's & Sunithi's lines, SAMAJ LE MERI-EEEEEE from 1.34 to1.36 & 2.06 to 2.08 is off-da-hook catchy prolonged quick descending twist, followed by OFF-DA-HOOK underlying TECHNO instrument from 1.36 to 1.38 & 2.09 to 2.11 that sets da ADRENALINE FLOWING (just hear it roll!). Sunithi's line, TERI (vaah kya sur pakhda hai!) from 1.38 to 1.40, 1.45 to 1.47 & 1.51 to 1.53 along with simultaneous beat hit gives kill effect to the build up caused by techno instrument.

2. Seene Mein Dil (both duet and female versions)

3. Kabhi Na Sukoon Aaya (both full and sad versions)

The string based theme piece (with an inherent twist) from 0.41 onwards. Three sets of lazy heavy beats from 1.21 to 1.22 and so on. Udit's unplugged line, DEEWANAPAN, JAGNE LAGA & MAJHBURIYAAN followed by innocent tune sur from 1.33 to 1.36, 4.01 to 4.03 & 5.24 to 5.26 that gives awesome overall complete melodious effect and konnects emotionally. Alka's lines, MEEE (awesome quick twist) at 4.50, SAPNE (terrific profound quick twist) from 4.58 to 4.59, MUJHKOOO (off-da-hook twist) from 2.48 to 2.49 & 5.46 to 5.47. The soothing female chorus is in full form from 5.48 onwards with emphasis on line AAYA (twist). Udit's best mukhda lines are DEEWAANAPAN (HISTORY vocals) in unplugged mode followed by an off-da-hook tune with quick skip effect that konnekts from 1.34 to 1.36, JAB SE TUM PE...MUHJKO (terrific catchy rising compositional pattern) from 1.47 to 1.50

4. Baandh Mere Pairon Mein

BEST PART in song is Sonu's line, OH SAWARIYA (off-da-hook catchy melody) from 1.07 to 1.09 that gets da listener into da zone.

5. Tere Dil Ka Rishta

Sonu sings with subtle feel vocals. BEST PART of song is Jayesh's CATCHY croons from 0.44 to 1.05 with emphasis on lines, RISHTA JOH HAI (terrific high pitch) from 0.45 to 0.46, NAHI - IIIII (HISTORY quick emphasis twist whereby he literally pours his heart out) from 0.53 to 0.54, KAAAA (HISTORY vocals that connect) from 0.56 to 0.57, NAHI - HIII (sudden abrupt voice leave that gives KICK) from 0.59 to 1.00. In essense, whilst this song that supposedly belongs to Sonu Nigam, its Jayesh Gandhi that ends up HITTING A SIXER and TAKING DA HONORS with his starting catchy croons and HOO - OOOO alaap intermittently throughout. Nice friendship song between a boy and a girl, cry on ma shoulders outta our friendship and then become ma gf [fun intended].

6. Koi Aap Sa

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