aashiq_banaya_aapne

Music review analysis of Himesh Reshammiya's album Aashiq Banaya Aapne (2005).

Aashiq Banaya Aapne

After delivering countless chartbusters as a composer, Himesh reshammiya the singer is born with this song (that marked da start of da post-ABA era) which is among his ultimate best ever 'sung n composed' songs.

This is Himesh's BEST EVER 'sung n composed' song, along with NAAM HAI TERA - tie.

The song begins with a deadly cutting edge string based techno bazz instrument (whose greatness can never be understood) from start to 0.05, followed by an overtly raw TECHNO tune from 0.05 to 0.09 that BUILDS UP SIKE / JAZBA, after which the underlying 1 bit free flowing Waltz beat with a SHARP hit pattern kicks in from 0.10 onwards.

The synthesis of all these three sounds for the build up so far is commendable.

The underlying free flowing beat is the simple 1 bit which has a SHARP hit pattern and it is similar to JHALAK DIKHLAJA from AKSAR, 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.

Himesh - da singer begins his innings with prolonged well structured high pitched UUUUU alaap which is the vocal theme piece in essence.

From 0.42 to 0.52, the well structured gradually rising intense passionate violin piece sets the mood in.

The catchy repetitive hooks of AASHIQ BANAYA * 3 follow a fixed formula, with emphasis on 3rd BANAYA (awesome desperation emphasis plea twist) at 0.58 to 1.00, 1.09 to 1.10, 1.40 to 1.41 & 1.51 to 1.52

The cutting-edge techno instrument does makes an impact from 1.03 to 1.05 & 1.44 to 1.47

All the other mukhda lines are very rhyming and catchy.

The fast-paced tabla beats from 1.21 to 1.24 & 2.02 to 2.05 give intermittent kick.

From 1.31 to 1.34, the mesmerising quick descending violin tune piece along with OFF-DA-HOOK random drum hit pattern gives sahi desired effect.

Between mukhda & 1st stanza, the mighty bazz trumpet does its thing from 2.15 to 2.36 followed by da combo of fast-paced tabla beats and passionate intense violin piece from 2.36 to 2.46

1st stanza

From 2.50 to 2.51, the quick profound tabla hit pattern gives a perfect kick-start to the stanza.

OFF-DA-HOOK tabla hit pattern from 2.50 to 2.51 catches the classical pulse of the listener.

The well structured REPETITVE PATTERN of the tune is the key. It is simple yet catchy.

Himesh's line, RAVA HAI (awesome high pitched emphasis vocals) from 3.01 to 3.02

The underlying original default scale shifts to a higher level in Shreya's lines, which makes the song unique.

From 3.09 to 3.12, the new-age synthetic techno instrument that plays behind Shreya's melodious vocals gives KICK.

Her part is short yet refreshingly effective, with emphasis on her lines, LAGI HU-UUUUN (off-da-hook desperation plea emphasis twist whereby she pours her heart out) from 3.12 to 3.13, TUTNE LAGI HU (off-da-hook melodious vocals strike a chord) from 3.26 to 3.28, these are one of her ULTIMATE BEST EVER lines in a Himesh Reshammiya song.

Himesh's line, BANAYA AAPNEEA (ubber rwakin nazal twang) from 3.45 to 3.48

Between 1st & 2nd stanza, the passionate intense violin returns along with dodgy male vocal skip effect from 3.49 to 4.09 followed by da combo of himesh's characteristic prolonged well structured vocal theme piece UUUU and fast paced tabla beats from 4.10 to 4.20

2nd stanza

It is more powerful than the 1st stanza whereby the song gets into its business end.

OFF-DA-HOOK tabla hit pattern from 4.24 to 4.25 catches the classical pulse of the listener.

The violin tune sur at 4.24 & 4.30 is great and special mention for the lyrics too.

Himesh's lines SILSI (OFF-DA-HOOK fulltu high pitch desperation plea emphasis) LA HAI from 4.35 to 4.36, DARDE (TERRIFIC desperation plea emphasis gives jazba & gets listener into da zone) from 4.38 to 4.39

The underlying original default scale shifts to a higher level in Shreya's lines, which makes the song unique.

Shreya's vocals, HA HA (up 2 notes) HA (2 notes) from 4.41 to 4.42 are likeably feel good.

From 4.43 to 5.02, the new-age synthetic techno instrument that plays behind Shreya's refreshing melodious vocals gives KICK, with emphasis on Shreya's line HAAAI (awesome profound twist) from 4.56 to 4.57

Her part is short yet refreshingly effective, with emphasis on her lines, DIYA HAA-AAAI (off-da-hook desperation plea emphasis twist whereby she pours her heart out) from 4.48 to 4.49, HAA-AAAAI (off-da-hook profound emphasis twist) from 4.58 to 4.59, MAJHBOOR KAR DIYA HAI (off-da-hook melodious vocals strike a chord) from 4.59 to 5.02, these are one of her ULTIMATE BEST EVER lines in a Himesh Reshammiya song.

Himesh's line, DOORIE (passionate emphasis) at 5.08 was similar to his line DOORIE (passionate emphasis) from 4.33 to 4.34 in MILE HO TUM TOH from DIL DIYA HAI.

Himesh reserves his best for the last.

His desperation feel alaap UUUU from 5.14 to 5.16 is of great cause.

The key is how himesh tries to sing aashiq BANAYA aapne, the line BANAYA in all sorts of ways and he completely succeeds in doing so, notable the terrific quick twists at 5.21 to 5.22, 5.24, 5.32 & 5.34

The biggest success of these lines lie in how himesh after these power packed lines croons NEEEEEA from 5.25 to 5.26 with a subtle voice. It is called SLOW DEATH.

He completely KILLS IT from 5.33 to 5.35, with NEEEA (dying vocal effect and n instrumental KILL effect with additional beats) which is HISTORY.

It is ultimate sike from here on. The mighty bazz trumpet in full form behind the lines TERE BIN gives HELL lot of SIKE and ADRENALINE flowing, and the fast tabla beats give intermittent KICK. The additional beat that kicks in is of great cause.

Himesh's vocals, SUNI SUNI (HISTORY sharp knife edge passionate emphasis sufi rwak vocals give chubban ka ehsaas) at 5.34, AAHEIN (awesome) at 5.40, SATAYE (awesome) at 5.45, JAALAYE (TERRIFIC sufi rwak emphasis vocals strike a chord) at 5.48 & AAYE (awesome) at 5.51

This ending part from 5.33 to 5.52 makes an impact in da song promos (not in actual song video) whereby it is used behind da scene whereby Emraan Hashmi and Sonu Sood cross path of each other sideways from opposite directions both staring at Tanushree Datta who is standing and chilling out at da bridge.

After collecting RDX and exploding the music scene with Atom bomb with his earlier fulltu killer emphasis vocals upto this point, Himesh finishes the song with the lines TERE BIN (subtle soothing soft vocals) from 5.52 onwards which is a total contrast and one of his trademark Sufi Rwak singing variations in terms of vocal finishing effect.

Da overall effect of this in totality is like scoring a goal and then indicating the spectators to remain shhhh (as seen in soccer games), as if nothing has happened and what was all da fuss about.

The cutting-edge string based techno bazz instrument is in full form by now and ends the song with a powerful statement that Himesh is set to take over and rule the Sufi Rwak genre from now on.

Highlights of this song:

1. Debut of Himesh – the Sufi Rwak singer, who sings with great feel and passion.

2. The sharp underlying beat hit pattern, passionate intense violin piece, mighty bazz trumpet and fast-paced tabla beats.

3. The cutting-edge techno bazz instrument in beginning and end of song and new-age synthetic techno instrument behind shreya's vocals.

4. Shreya's part that is an asset to this song and good support to Himesh's sharp knife edged vocals.

5. Rhyming lyrics that are tailor made for the Sufi Rwak genre.

Aashiq Banaya Aapne - Synopsis

After Himesh composed the basic tune for Aashiq Banaya Aapne Title Track, he realized that it cannot be given a typical Indian love ballad orchestration (like his earlier pre ABA title tracks) and that this song couldn’t be sung by a stereotyped singer either. The USP of the tune is that it is well structured with catchy repetitive hooks. A pure composition!

What gives the COMPLETENESS effect to these repetitive hooks and make them CATCHY is the line TERE BIN i.e. TERE BIN SUNI SUNI HAI BAAHEIN...TERE BIN PYAASI PYAASI NIGHAHEIN...TERE BIN BIN ASAR MERI AAHEIN (repetitive hooks) from 1.23 to 1.31 & 5.35 to 5.42 followed by TERE BIN (the key line to give completeness effect and make the overall repetitive mukhda hook catchy) from 1.31 to 1.32, & 5.43

Himesh's line, TERE BIN at 1.18, 1.29 n so on is the key of the whole mukhda hook which gives it the complete melody effect. If this small line is removed from the whole mukhda, the whole mukhda hook will be rendered ineffective. But that is the skill of Himesh - the composer to know how to complete a mukhda hook n give that kill effect to make it overall catchy.

Himesh went in for modern new age orchestration and his choice of instruments was commendable. The underlying free flowing rhythmic Waltz beat, the techno beginning at the start to build up sike and causing a rush of adrenaline, off-da-hook drum hit pattern along with mesmerizing violin piece from 1.32 to 1.35 to give sahi desired effect, the mighty bazz trumpet in between 1st stanza gap, off-da-hook tabla hit pattern at start of each stanza, and synthetic techno tune behind Shreya’s vocals that gives kick, violin piece in 2nd stanza fast paced tabla beats to give intermittent kick and finally the instrumental kill effect from 5.33 to 5.35

In such a Sufi Rwak composition (even considering its remix which had the female portion cut out), one would think of Himesh, Himesh and only Himesh – the singer, whereby what is the need of having a female voice in the song which out to be sidelined and dominated by his vocals. But in essence, it is Shreya Ghoshal’s part that makes this a Sufi Rwak 'ballad'. She strikes gold, jackpot and bingo with her vocals (much like winning an award for da best cameo performance) on a rather short but very catchy compositional tune piece.

It rarely happens that there is shift of scale in the middle of a song. The tune of Himesh's part and Shreya's part is as if two different set of melodies on separate scales are mixed together in one song i.e. Shreya's vocals on a rather short but very catchy compositional tune piece in the stanzas is about half a note higher than the original default scale of the song (i.e. Himesh’s portions that are in majority), but fits in very well in terms of the overall context. This shift in scale can be noted in Himesh’s line, SAMAH HAI (default / normal scale of song) from 3.08 to 3.09 followed by Shreya’s alaap, HOOOO (shifts the song to higher scale) at 3.09 in 1st stanza until the end of her lines at 3.28, after which the scale returns to default normal from 3.28 onwards on Himesh's lines that follow, and Himesh's line, HUMKO MILA HAI (default / normal scale of song) from 4.40 to 4.41 followed by Shreya’s alaap, HAN-HAN-HAN (shifts the song to higher scale) at 4.42 in 2nd stanza until the end of her lines at 5.02, after which the scale returns to default normal from 5.02 onwards on Himesh's lines that follow. The linkage and merging together of these different varying scales of both male and female portions which have a difference of about half a note is what makes the total melody of the song unique, and only a pro who has a deep understanding about the small technicalities of music can achieve this.

Shreya’s vocals keep on growing and growing upon the listener upon each repeat hear, with emphasis on her lines, HUUUUU (off-da-hook desperation plea emphasis twist whereby she pours her heart out) from 3.13 to 3.14, TOOTNE LAGI HU (off-da-hook catchy) from 3.28 to 3.29 in 1st stanza, HAAAI (off-da-hook profound quick twist) from 4.58 to 4.59, KAR DIYA HAI (off-da-hook catchy) from 5.02 to 5.04 in 2nd stanza. Unke vocals is gaane par chaar chand laga dete hai.

So in nutshell, Himesh’s killer Sufi Rwak vocals on well structured tune with repetitive hooks along with Shreya’s refreshing melodious vocals on a catchy tune along with modern cutting edge orchestration that gives sahi desired effect makes ABA title trax one of his most respected and acknowledged post ABA sung n composed songs.

Title Trax - 1st song Promo/video

Apart from noticing a shift in sound domain, the first thing the viewer noticed in the 1st promo of AASHIQ BANAYA AAPNE TITLE TRAX was the sharp tonal quality of the singer that was sounding totally unique, and later only thrilled to see in the credits that it is sung by Himesh Reshammiya.

Towards the end of the song video from 4.36 onwards, Himesh's alaap UUUUUU along with intermittent bazz trumpet strikes a chord.

Aashiq Banaya Aapne - Video

For some unknown reason, the scale of Aashiq Banaya Aapne video song is set to a higher octave, which means all underlying beat, instruments, Himesh's vocals, Shreya's vocals are all shifted to higher octave, while the scale is normalin the audio version in OST. Of course, the OST version sounds way better than the video version, but it will be a mystery why the octave in video version was set to higher.

Aap Ki Kashish

When Himesh said that the album of Tere Naam had simple melodies and Aap ki kashish is a very complex melody, it was an astonishing statement at first which appeared to be true later on.

Before embarking on the music composition for this song, Himesh decided to create a new Sufi Rwak sound and enter into a new genre. A tralier of these capabilities were shown in songs like MAULA and UUD UUD JAAYE from VAADA.

Himesh also did himself a favour and asked his musicians to head hunt for the latest Sufi Rwak instruments available in the musical market, and the results were only to be seen.

The song starts with string instrument (guitar riffs) that was used for similar effect from 1.29 to 1.38 in AHISTA AHISTA TITLE TRAX and from 0.50 to 0.54 in TUM SAANSON MEIN from HUMKO DEEWANA KAR GAYE.

Krishna's high-pitched intense alaaps compliment Himesh's opening vocals.

The cutting edge heavy beats that hit it from 0.47 to 0.49 get da song rolling and underway.

The underlying beats from 0.50 onwards get the listener into the groove.

The new-age funky synthetic guitar plays in between 0.56 and 1.11

Himesh's line, HAAAAIIIINNNN (intense ustad emphasis gives SIKE) from 1.08 to 1.09

OFF-DA-HOOK vibrant metal guitar breezes through and causes a RUSH OF ADRENALINE FLOWING from 1.16 to 1.18

The additional quick heavy beats join in from 1.20 to 1.26 to enhance da song's rhythm.

The rebellious cult heavy metal guitar ROARS from 1.28 to 1.31

Himesh's line, HAAAAAAIIIIIN (prolonged ustad nusrat fateh ali khan styled emphasis vocal twist drives da listener BERSERK) from 1.32 to 1.35

Between mukhda & 1st stanza, the techno whoosh sound that gradually grows upon da listener from 1.34 to 1.39 gives a feel as if a high velocity comet is passing near Jupiter, the laid back string tune from 1.39 to 1.48 gives a feel as if the listener is in a cool n quiet 'shaant' Pluto (INCREDIBLE OUT OF DA WORLD experience), along with Krishna's intense croons from 1.39 to 1.56 followed by feel good funky guitar from 1.57 to 2.04

1st stanza

It is well structured and effective.

Himesh's lines, KHAYAALON (feel good twist) from 2.08 to 2.09, KARAAAAR (feel good twist) from 2.16 to 2.17

The female vocals are also a pleasant surprise and frankly were really not anticipated in such a song (same trend as the title trax).

At 2.32, a CULT heavy sufi rwak instrument hits.

Himesh's lines, HAAAIN (ustad emphasis) from 2.39 to 2.40, NASHA-AAAAA (TERRIFIC overall effect) from 2.44 to 2.46, JAANE JAA (subtle feel) at 2.55

From 2.55 to 2.56, Krishna's high-pitched croons are of great cause.

Himesh's line, HAAI (off-da-hook halke se feel) at 3.00

The vibrant metal guitar in between 2.35 & 3.05 keeps the adrenaline levels up.

Between 1st & 2nd stanza, the intense ambient sound from 3.06 to 3.18 gives a feel as if the listener is in Mercury, and from 3.14 to 3.18 is as if the fingernail taps/hits a hard surface like an ice slab many times (INCREDIBLE OUT-OF-DA-WORLD experience). A passionately intense violin piece plays from 3.32 to 3.50

2nd stanza

Himesh's catchy lines, TERI AADAON KA, JAADU JOH CHAL GAYA, DEEWANA ME HUA DIL MACHAL GAYA... HALKAR DHUA UTHA, MAUSAM BADAL GAYA, ROSHAN HUA SAMAH, PARWANA JAAL GAYA (ubber rwakin nazal twang) from 3.51 to 4.08

At 4.18, a CULT heavy sufi-rock instrument hits.

From 4.20 onwards, Himesh sings in laid back vocals along with funky guitar as if telling the herione how and what he feels, with emphasis on JAAA (subtle feel) at 4.40 & HOOSH HAI (soothing feel) from 4.44 to 4.45 & 4.48 to 4.49

From 4.52 onwards, extra remix beats kick in along with heavy intermittent instrument to enhance the tempo of the song and make it a rhythmic foot tapping affair.

Himesh just HITS IT from 5.23 to 5.24 with quick profound heavy instrument.

The song ends with the lone sound of the heavy metal rock guitar in unplugged mode (just like the ending of I NEED MY SPACE from DAMADAMM), thus giving the signal that Himesh (a Sufi Rwak master specialist) is now here to rule da Sufi Rwak genre.

Highlights of this song:

1. Cutting edge off-da-hook Sufi Rwak instruments that Himesh had just imported.

2. Himesh's vocals that go the ustad way as far as prolonging words with twists are concerned.

3. Pleasant surprise in form of totally unexpected short-n-sweet female vocals.

4. All the new age cutting edge music arrangement and instruments that steal da show.

5. The stunning instrument effects / orchestration in between both stanza gaps that give an incredible out-of-da-world experience (what instrument choice/selection!)

Dilnashee Dilnashee

The song begins on a groovy note with off-da-hook fluctuating bazz sound in unplugged mode until 0.04 that builds up jazba, joined in by intermittent Daffli hits n chime / jingle effects along with pleasant Bansuri theme piece from 0.04 to 0.23, followed by off-da-hook techno effect from 0.24 to 0.25 that gives sike, and quick drum roll beats. What a build up!

The heavy foot-tapping free-flowing beats hit it good from 0.26 onwards.

The beat effect from 0.57 to 0.58 launches the mukhda.

From 1.01 to 1.04,1.08 to 1.10, 1.52 to 1.53 & 1.57 to 1.58, a cutting-edge TECHNO instrument plays that Himesh had just acquired for his ABA album.

From 1.24 to 1.26 & 2.03 to 2.05, HAIIIII (up down) IIIIIAAAA is more of a Muslim prayer type of composition.

From1.28 to 1.30 & 2.07 to 2.09, the groovy bazz sound in unplugged mode along with whoosh sound gives great intermittent build up followed by da raw heavy drum hit pattern from 1.31 to 1.32 & 2.10 to 2.11 that gets da song rolling again.

The subtle tabla beats kick in from 1.33 to 1.49 & 2.12 to 2.29 to enhance the overall effect of the core mukhda lines.

Between mukhda & 1st stanza, 2 quick repetitive sets of heavy drum beats hit it in semi plugged mode along with a cult wicked new age techno instrument tune, followed by full underlying beats from 2.42 to 2.50 that give FOOT TAPPING KICK whereby the song becomes RWAKIN and in FULL FORM. The pleasant traditional flute (bansuri) theme piece follows thereafter.

1st stanza

The additional beat effect 2.57 to 2.59 kick starts the stanza.

The additional higher-pitched male croons along with KK's vocals give an overall great sur and Jayesh's intermittent croons are effective.

The beat effect from 3.36 to 3.38, 3.40 to 3.42 & 3.53 to 3.55 is of great cause.

Between 1st & 2nd stanza, a techno tune plays along with intermittent claps from 4.13 to 4.20, The fast paced MATKA beats at 4.20 are great followed by an ambient groove tune that gives a feel of an underwater tunnel / pipeline / aquarium, along with Jayesh's feel good emphasis croons from 4.21 to 4.46. The pleasant traditional flute (bansuri) theme piece in semi-plugged is great build up followed by full beats from 4.52 onwards that give some kick.

2nd stanza

The additional beat effect 4.54 to 4.55 kick starts the stanza.

The additional higher-pitched male croons along with KK's vocals give an overall great sur and Jayesh's intermittent croons are effective.

The heavy raw drum hit pattern from 5.33 to 5.34, 5.37 to 5.39 & 5.50 to 5.51 is of great cause.

The lyrics, JASBO KE MAAKAN ME are great.

From 5.48 to 5.50, the groovy bazz sound in unplugged mode is great.

The profound tabla beats join in along with the pleasant traditional flute (bansuri) theme piece to end the song.

Highlights of this song:

1. The underlying mast kickass beats.

2. Additional beat effect (drum, matka and tabla).

3. Cutting edge techno instrument effects.

4. The pleasant traditional flute (bansuri) theme piece.

Verdict

In terms of a shift of sound domain, Aashiq Banaya Aapne is Himesh's most CULT album to date.

Aashiq banaya aapne marked da evolution of new sound from Himesh's stable, something he would go on to master and patent with his trademark stamp.

It was da start of a new genre called Sufi-Rwak which was trend setted by himesh only later to be completely dominated as Himesh - the singer was tailor made and perfectly apt for it.

Such was da nature of composition style and music arrangement of ABA Title Trax that it forced Himesh - the composer to look beyond the existing norms of the male playback singing options that were too 'typically desi' for such a sufi fuzion number and rather opt for a new uncapped unconventional fresh voice.

This was a blessing in disguise as it was a relatively small budget film whereby there was scope for experimentation (as opposed with big banner films that insist on going en route of safe play formulae re previously tried n tested stuff) and hence Himesh - the singer got a launch pad.

Though it was a sudden, accidental and untimely one but going by da fact of da over whelming response, himesh might be kicking himeslf as to why he never himself thought of coming behind da mike during all these previous years, but then da fans wouldn't have da luxury to hear great melodies from both worlds i.e. pre ABA & post ABA with a musical span which has perfect balance / mix that caters to differing audience of varying tastes.

There is a saying that all great things were accidentally discovered by experiments (e.g. Coke) and so was Himesh - the Sufi Rwak singer with this album.

If Himesh - the composer was a cake, then Himesh - the singer was da iceing on that cake, only to make for a more delicious mouth watering prospect for da listener in da time to come to have their hands full with future musical projects!

This album also marked da start of da chartbuster Himesh-Emraan jodi that symbiotically benefitted from each other's success in da subscequent mutual projects.

As far as cult new age Techno instruments n sounds in a post ABA album, Aashiq Banaya Aapne has the most i.e. the start build up and along with Shreya's stanza lines in Title Trax, in between stanza gaps of Aap Ki Kashish, and in mukhda and in between stanza gaps of Dilnashee. The album was a serious shift of sound domain from pre ABA era, and orchestration wise is one of the best arranged album in post ABA era.

My Picks

1. ABA Title Trax (generated max mass hysteria).

This is Himesh's BEST EVER 'sung n composed' song, along with NAAM HAI TERA - tie. The song begins and ends with a deadly string based techno bazz instrument. An overtly raw techno tune from 0.05 to 0.09 BUILDS UP SIKE/JAZBA. The underlying free flowing beat has a SHARP 1 bit Waltz hit pattern. Himesh's line, BANAYAA (terrific up twist with purpose and cause) from 0.59 to 1.00 & 1.51 to 1.52. OFF-DA-HOOK drum hit pattern from 1.32 to 1.34. OFF-DA-HOOK tabla hit pattern at start of each stanza from 2.48 to 2.49 & 4.22 to 4.23. The new-age synthetic instrument behind Shreya's lines from 3.08 to 3.28 & 4.43 to 5.02 gives KICK in overall context. Himesh's line, SILSI (OFF-DA-HOOK high-pitched emphasis) LA HAI from 4.35 to 4.36, DARDE (TERRIFIC desperation plea emphasis gives jazba & gets listener into da zone) at 4.37. Himesh reserves his best for last. Himesh's line, NEEEEAAAAA (HISTORY vocals along with additional beats that give KILL effect) from 5.33 to 5.34. The bazz trumpet behind Himesh's line TERE BIN gives HELL LOT OF SIKE.The fast-paced tabla beats from 5.43 to 5.45 give intermittent kick. Himesh's lines, SUNI SUNI (HISTORY sharp knife edge sufi rwak vocals give pricking sensation) from 5.36 to 5.37, The starting n ending of song is very sike n jazba giving.

2. Aap Ki Kashish (hard core Sufi Rwak number).

Himesh's line, HAAAAIIIINNNN (intense ustad emphasis gives SIKE) from 1.08 to 1.09. OFF-DA-HOOK metal guitar breezes through in between 1.16 & 1.26 and gets the ADRENALINE FLOWING. The rebellious cult heavy metal guitar ROARS from 1.28 to 1.31 Himesh's line, HAAAAIIIIIIIN (ustad nusrat fateh ali khan styled emphasis vocals drives da listener BERSERK) from 1.33 to 1.34. The instrumentals in both stanza gaps have an OUT-OF-DA-WORLD experience. Himesh's lines in 1st stanza, NASHA-AAAAA (TERRIFIC overall effect) from 2.44 to 2.46, HAAI (halke se feel) at 3.01. Himesh's lines in 2nd stanza from 3.51 to 4.08 have ubber rwakin nazal twang. Himesh hits it real good and hard from 5.22 to 5.24 with QUICK HEAVY PROFOUND BEAT EFFECT. From ABA to KARZZZZ, this is the only Sufi Rwak song in which Himesh's Sufi Rwak voice sounds a touch different than his default Sufi Rwak voice in all his other Sufi Rwak songs, in terms of tone.

3. Dilnashee Dilnashee.

Underlying beats have a heavy rhythmic free-flowing pattern. The song has a well structured bansuri / traditional flute theme piece that plays intermittently throughout. A deadly sharp cutting edge techno instrument plays from 0.22 to 0.26, 1.01 to 1.04 to 1.08 to 1.10. OFF-DA-HOOK random drum hit pattern from 1.31 to 1.32. BEST PART of song is in between 1st stanza gap with 2 sets of quick heavy drum hits from 2.29 to 2.41 in semi plugged mode which is BUILD UP part followed by full underlying rhythmic beats from 2.42 to 2.50 that give KILL EFFECT (along with a catchy wicked synthetic tune piece), whereby the song becomes RWAKIN FOOT-TAPPING affair.

The song keeps on growing upon the listener upon repeat hears. The more the listeners listen to it, the more they like it. Uunderlying beat is foot tapping kick@$$

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