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Bhool Jayenge Hum

The song begins with a likeable piano piece, with emphasis on quick rising key flick from 0.08 to 0.11 & 0.20 to 0.23 (along with a characteristic quick rising flick that was used countless times in pre-ABA era).

The fast paced additional tabla beats from 0.44 to 0.45 & 1.02 to 1.03 give intermittent kick and sahi desired effect.

Udit's line, MILOOO (TERRIFIC twist) from 0.31 to 0.32 & 0.43 to 0.44 is the BEST MELODY of song, which was similarly used in line MEINN (TERRIFIC twist) from 1.05 to 1.05 in ISHQ NE TERE from AHISTA AHISTA.

The female soothing melidious chorus join in from 0.46 to 0.51 along with underlying free flowing beats.

Udit's lines, EK PAL-LLLL (awesome desperation plea twist) from  DO GHADI-IIIIII (awesome desperation plea twist) in between 0.58 & 1.00

Shreya's lines, CHAHATEIN KEHRAHI from 1.02 to 1.05 are well sung.

The 2 key tune sur from 1.09 to 1.12 & 1.15 to 1.17 behind Shreya's and Udit's vocals is of great cause.

Between mukhda & 1st stanza, the soothing female chorus UUUU is back from 1.21 to 1.30 followed by a quick rising characteristic keyboard flick from 1.30 to 1.32 followed by a likeable piano piece from 1.32 to 1.43 and joined again by soothing female chorus UUUU from 1.44 to 1.49

1st stanza

From 1.51 to 1.52, fast tabla beats give great kick start to the stanza which has an uncomplicated and effective composition pattern.

Udit sings with subtle feel vocals that give a pleasant effect.

The elec piano that gives a jingle effect at 1.54 (higher note) & 2.00 (lower note) is of great cause.

Shreya's lines,  KYUN AJAB SI KHWAHISH (awesome melodious haunt feel) from 2.01 to 2.03, SEENE MEIN AARMANO KI (awesome desperation feel) from 2.07 to 2.09

The quick descending bazz trumpet from 2.11 to 2.12 gives completeness effect to Shreya's preceeding lines.

The tune sur behind Udit's vocals from 2.13 to 2.22 is of great cause followed by quick additional tabla hits from 2.23 to 2.24 that give sahi desired effect / intermittent kick.

Between 1st & 2nd stanza, proceedings get into Nostalangic loungish mode with da combo of Udit's subtle feel vocals and soothing female chorus from 2.45 to 3.07 with underlying laidback beats and laidback piano piece, followed by an passionate intense violin piece from 3.08 to 3.19

2nd stanza

From 3.21 to 3.22, fast tabla beats give great kick start to the stanza which has an uncomplicated and effective composition pattern.

Shreya's lines from 3.19 to 3.30 are melodious.

The elec piano that gives a jingle effect at 3.24 (higher note) & 3.30 (lower note) is of great cause.

Udit's sings with subtle feel from 3.31 to 3.41along with a faint bazz trumpet tune sur in background.

The quick descending bazz trumpet from 3.41 to 3.42 gives completeness effect to Udit's preceeding lines.

Udit's lines, KEH RAHEE AASHIQUEE (awesome soothing feel) from 3.42 to 3.44 followed by fluctuating bazz trumpet tune from 3.45 to 3.48 sur behind his vocals.

Udit's lines, EK PAL-LLLL (awesome desperation plea twist) from  DO GHADI-IIIIII (awesome desperation plea twist) in between 3.48 & 3.50 followed by quick additional tabla hits from 3.53 to 3.54 that give sahi desired effect / intermittent kick.

The soothing female chorus that join in from 4.11 onwards are a musical treat.

Highlights of this song:

1. Udit's subtle feel pleasant vocals and Shreya's melodious vocals with haunt feel (at places).

2. Underlying free flowing beats.

3. Likeable piano keys at start, bazz trumpet tune sur, additional quick tabla hits, fast tabla beats at start of stanzas, quick descending bazz trumpet in stanzas, elec piano that gives a jingle effect in stanzas, passionate intense violin piece in between 2nd stanza gap.

4. Soothing female background chorus (one of the three key pre-ABA elements that were a regular household feature in that era).

Perhaps da only hinderance in this song that may go against it is da deja-vu feel in its stanzas.

Kuch Meetha Ho Jaaye

The song begins in laidback semi-plugged beat mode with classical tabla beat effect that was similarly used at 2.53 & 2.56 in AAP KA AANA from KURUKSHETRA, from 3.04 to 3.12 in KABHI NA SUKOON AAYA from KOI AAP SA, and in between 0.33 & 0.53 in CHUDI KHANKAYI RE from YEH HAI JALWA,along with a subtly faint rising groovy tune in the background.

The awesome well structured sarangi theme piece from 0.05 onwards that was also used at start of PIYA JAISE LAADO from RADIO gives awesome emotional feel factor / quotient, with emphasis on upward high note desperation plea twist from 0.15 to 0.16

Jayesh goes all out whole heartedly with his extended desperation emphasis ustad type qawali croons from 0.17 to 0.27, with emphasis on OFF-DA-HOOK alaap variation from 0.24 to 0.25

Sonu's line, JAAYE-EEEEEE (awesome prolonged emphasis vocals give some kick) from 4.14 to 4.16

The underlying subtle bazz sound from 1.06 to 1.08 gives great intermittent effect.

Sonu's line, CHAIN AAYE (subtle feel) from 0.37 to 0.40 & 1.29 to 1.32 is similar to his line JAL JAAYE (subtle feel) from 0.28 to 0.31 in TUM CHAIN HO from MILENGE MILENGE.

Sonu's line, HAS - DOOO (awesome desperation emphasis plea twist) from 1.27 to 1.28 is similar to his line HAAAI (desperation emphasis plea twist) from 0.51 to 0.53 in TU HAI ISHQ from FEAR.

The quick likeable piano keys from 1.41 to 1.43 give completeness effect to Sonu's preceeding subtle feel lines.

Between mukhda & 1st stanza, the soothing female chorus join in the sarangi theme piece from 1.44 to 1.53 to maximize da melodious feel factor. Jayesh goes inner soul searching and pours out all his feelings and emotions in his croons from 1.54 to 2.05 along with repetitive keys in regular interval gaps that gives sahi sur effect, with emphasis on his line HOOOO (off-da-hook high-pitch alaap) from 1.54 to 1.55, and KUCH BHI (terrific desperation plea) from 2.03 to 2.04

1st stanza

From 2.06 to 2.16, Sonu croons innocent lyrics with subtle feel vocals on a simple yet effective composition pattern which makes overall proceedings a 'pleasant on the ears / ear pleasing' affair that make it a gentle feel good outing.

The sarangi theme piece from 2.17 to 2.22 is of great intermittent cause.

Sonu's lines, SAMJHAY-EEEEE (awesome prolonged emphasis vocals) from 2.33 to 2.35, HOO HOO HOO (awesome accompanying soothing feel croons) from 2.39 to 2.41,  JAAYE-EEEEEE (awesome prolonged emphasis vocals) from 2.49 to 2.52 along with quick likeable piano keys that give completeness effect to his preceeding subtle feel lines.

Between 1st & 2nd stanza, the prolonged traditional flute / bansuri piece from 3.03 to 3.24 only makes proceedings more pleasant, followed by da terrific combo of soothing feel female chorus and sarangi theme piece from 3.25 to 3.29

2nd stanza

It is more soothing and has more feel.

From 3.30 to 3.41, Sonu croons innocent lyrics with subtle feel vocals on a simple yet effective composition pattern which makes overall proceedings a 'pleasant on the ears / ear pleasing' affair that make it a gentle feel good outing.

The sarangi theme piece from 3.41 to 3.46 is of great intermittent cause.

Sonu's lines, HAI-EEEEE (awesome soothing vocals) from 3.46 to 3.48, HOO HOO HOO (awesome accompanying soothing feel croons) from 4.03 to 4.05, JAAYE-EEEEEE (awesome prolonged soothing vocals) from 4.14 to 4.16 along with quick likeable piano keys that give completeness effect to his preceeding subtle feel lines.

Jayesh returns to complete his unfinished business from 4.28 onwards and dons his qawali hat to pour / belt out some extended soulful despreation plea croons, with emphasis on high-pitched passionate croon from 4.28 to 4.32 (waah, awaaz mein kya kashish aur tadpan hai!) on OFF-DA-HOOK alaap variation from 4.39 to 4.41

The upward higher pitched desperation plea note at 4.28 & 4.38 of the sarangi theme piece catches da semi-classical pulse of da listener.

The ending part from 4.28 onwards, jayesh dons his qawali hat and gives it his all until the end, and the song ends pleasantly when shreya goshal sings unplugged, ho jaye kuch meetha ho jaye, just what such a song needed at the very end.

Jayesh's croons turn classical from 4.44 to 4.56

Shreya puts iceing on da cake and mesmerizes with her halke se melodious feel vocals in unplugged mode to bring even more thehrav to eventually halt da proceedings, with emhasis on her line MEETHAAAAA (prolonged voice deepening) AAA (followed by abrupt emphasis voice leave) from 5.06 to 5.08

The Siemens ring tone from 4.56 onwards 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 0.04 & 0.32 in SONIYE from AKSAR.

Highlights of this song;

1. Sonu's subtle / sooth feel vocals.

2. Underlying laidback beat pattern.

3. Classical tabla beat effect at start, subtly faint rising groovy tune, well structured sarangi theme piece (that belongs to da set of raga instruments), underlying subtle bazz sound, pleasant bansuri piece in between 2nd stanza gap, the quick likeable piano keys that give completeness effect to Sonu's preceeding lines.

4. Da combo of soothing feel female chorus and sarangi theme piece that are a musical treat.

5. Jayesh Gandhi's HISTORY whole hearted soulful desperation plea alaap croons that win over da listener and which are one of his BEST EVER works (he was one of the three key pre-ABA elements and a household name in himesh songs of that era).

This 'semi-classical' song in genre is not about Sonu Vs Himesh, rather it is about Himesh-Sonu Combo that RWAKS and which was always a HIT JODI and a WINNER ALL DA WAY.

Lagne Lage Ho

The likeable feel good guitar riffs from start to 0.05 set the undertone of the song right away.

The synthetic harmonica theme piece joins in from 0.06 to 0.17 & 1.09 to 1.20

From 0.18 to 0.31, Sonu croons with soothing feel vocals to build up the song tremendously.

The tune sur from 0.37 to 0.38, 0.40 to 0.41 & 0.43 to 0.44 is of great cause.

The underlying bazz sound kicks in from 0.47 onwards.

From 1.03 onwards, the underlying beat pattern, especially the synthetic techno bazz, really takes time to get used to because it is unusual but please dont disgerard this song based only on this one factor.

The catchy synthetic harominca plays from 1.08 to 1.20

Alka yagnik takes over from 1.21 onwards along with subtle female chorus behind her vocals.

Alka's lines, tumhAAARE (sudden high pitched melody) from 1.31 to 1.32, PYAR KARLO (melody) from 1.34 to 1.35 & 1.37 to 1.38, AAAAAAAA (melodious twist) from 1.41 to 1.43, EE (halke se innocent feel) SANAM (melody) from 1.44 to 1.47

From 1.45 to1.50, the repetitive keys are joined in by grand trumpet in rather subtle mode.

Between mukhda & 1st stanza, a passionately intense violin piece plays from 1.51 to 2.02 along with subtle guitar riffs.

1st stanza

A catchy off-da-hook synthetic harmonica tune (2 key notes) plays from 2.05 to 2.07

Off da hook tune sur (3 keys descending by 2 notes) plays from 2.07 to 2.09 that wins over da listener.

Sonu's line, DARDE (great impact) at 2.09

The grand trumpet in subtle mode plays from 2.12 to 2.15

The faint soothing female chorus joins in from 2.17 onwards.

Sonu's line, PEHER-RRRRRRR (prolonged up down twist) from 2.22 to 2.26

Sonu's line, AAEEEEE (deliberate quick voice shiver) from 2.50 to 2.51

The repetitive keys from 2.52 to 2.55 are of great cause.

Between 1st & 2nd stanza, the lovely laidback piano piece and chime/jingle effect is mesmerizing in semi-plugged mode from 2.57 to 3.19 followed by off-da-hook beat skip effect from 3.19 to 3.20 and laidback underlying drum beat skips from 3.21 onwards. From 3.20 to 3.32, the terrific synthetic harmonica tune returns.

2nd stanza

It is UTTER SHEER MELODY thanks to Alka's vocals (it is a pity Himesh hardly uses her anymore).

Alka's lines, MERA karaar (great build up composition) followed by off-da-hook (3 keys descending by 2 notes) from 3.37 to 3.38 that wins over da listener, MERA (off-da-hook high pitched melody) at 3.39, KARAAR (complete composition effect) until 3.41

From 3.35 to 3.41, uffff, TERRIFIC MELODIOUS VOCALS.

The grand trumpet in subtle mode plays from 3.41 to 3.45

The faint soothing female chorus joins in from 3.47 onwards.

Alka's lines, BE (high note) iktiyaAAAAAA (prolonged up down twist) AAAAAR from 3.51 to 3.55

Alka's lines, karlo naAAAA (awesome desperation feel twist) AAAAA from 4.17 to 4.18, followed by CUTE piano key flicks from 4.17 to 4.18 , AAEEEEE (awesome deliberate quick voice shiver) at 4.20

The tune sur in between 4.26 to 4.33 is of great cause.

Sonu's line, la-GEA (awesome desperation plea) at 4.31, tumhar-EEEEEEE from 4.34 to 4.37 (prolonged gradual voice deepening followed by deliberate voice shake).

The song ends on a high from 4.47 onwards when Jayesh casts his magic with his refreshing high pitched alaap OOOOOOOO (intense passionate croons) that gets da listener into da 'serene feel' zone

Highlights of this song.

1. Sonu's soothing vocals with terrific feel.

2. Alka yagnik's melodious vocals that steal the show and take this song to another level in the 2nd stanza.

3. Jayesh gandhi's refreshing high pitched croons and subtly faint soothing chorus.

4. The underlying drum beat skips from 2nd stanza onwards.

5. Synthetic harmonica piece, off-da-hook tune sur in stanzas, grand trumpet in subtle mode, feel good guitar riffs especially at start, passionately intense violin piece, chime/jingle effect & cute piano flick.

The "serene mood" of this song is commendable courtesy due to subtly laidback music arrangement / orchestration.

This is yet another winner up the sleeve for Himesh-Sonu Combo.

Aane Do - Royal Stag Mega Mix

Note the tune from 0.08 to 0.12, followed by croons of female voice in lines of kuch meetha

The english lines by female voice from 0.39 to 0.57

Jayesh does his usual stuff

The drum beats from 1.15 onwards

From 1.17, the whispers are fantastic, the instrument from 1.23 to 1.25 and from 2.23 to 2.24, 3.04 to 3.05

The mixture of female classical voice plus jayesh's croons are great

From 1.49, the classical tabla beats are great, RAATEIN(twist), BAATEIN(twist), PAANE TO (emphasis)

At 2.12, the combined effect of male and female croons is awesome and the beat is totally western

1st stanza

The seductive whispers (with exagerrated breath) are very catchy actually and send a very slight chill

Between 1st and 2nd stanza, a naughty instrument plays

2nd stanza

less of whisper but still very seductive

At 3.36, laaNEEEEEEEE (classical twist)

The classical AAAAEEEAAAAAAEEEEAAAA from 4.00 is simply great, aane do, BABY COME TO ME at 4.10

From 4.06, the female singer tries to sing AANE DO in all possible ways

From 4.30, the female chorus join in

Highlights of this song:

1. The EAST meets WEST combo of female classical, jayesh's croons and female western seductive voice.

2. The EAST meets WEST combo of beats and instruments (western beats and indian tabla).

This is an INTERNATIONAL FEEL song and is almost par with TERI GALIYON SE (BABASTA HAI) from MAIN AISA HI HOON.

This is an extreme experiment in terms of vocals and beats/instruments.

The classical voice singing aane do (with classical tabla) followed by BABY COME TO ME by western vocals (on western beats) followed by croons of paas aane toh do with all his might.

O Jaana Tenu Rab Da

The song begins with subtle feel vocals of Kunal Ganjawala, with emphasis on THA (feel twist, typical unique HR melody) at 0.20 and 0.37

The clap effect and female chorus build up the song from 0.42 onwards.

The song changes tempo with the "prom-nyte" peppy beats hit it the GUSTAKH DIL (DIL MAANGE MORE) style.

The fast drum-roll beats from 1.18 to 1.19 are similar to ones used in KOI AAP JAISA from 0.49 to 0.52, BOYS ARE BEST from 0.33 to 0.34

The wicked key flicks from 1.36 to 1.37, 1.51 to 1.53 and 2.07 to 2.09 were similarly used from 0.37 to 0.40, 0.42 to 0.44 in GUSTAKH DIL (DIL MAANGE MORE).

Kunal's vocals and composition pattern are both feel good.

Between mukhda and 1st stanza, repetitive keyboard piece plays along with underlying peppy beats followed by feel good harmonica tune.

1st stanza

Both the composition style and KK's singing are feel good.

A funky guitar piece plays from 2.44 to 2.46

The soothing female chorus from 2.46 to 2.54 enhances the overall melody.

The feel good trumpet plays from 2.55 to 2.56

Between 1st and 2nd stanza, a feel good trumpet plays followed by LAGNE LAGE HO tune piece and feel good male and female vocals.

2nd stanza

Both the composition style and Sunithi's singing are feel good.

A continuous harmonica piece plays from 3.52 to 3.59

The soothing female chorus from 4.00 to 4.07 enhances the overall melody.

The feel good trumpet plays from 4.08 to 4.09

The female chorus joins in towards the end of the song which finishes with a funky guitar piece.

Highlights of this song:

1. Kunal's feel good croons but the real part is his subtle feel vocals at start of song.

2. Sunithi's feel good vocals and soothing female background chorus.

3. The peppy underlying beat pattern, the fast drum-roll beats, harmonica tune, funky guitar piece and feel good trumpet.

Aane Do - Thumri

The song begins with a classical raga instrument.

The laid back tabla beat pattern gets into the business end of classical stuff.

The continuous harmonium piece plays along intermittently throughout the song.

The composition pattern consists of complicated raags with loads of classical twists-n-turns which Dr. Shona Ghosh fulfils very well.

From 3.11, 3.56, 4.37 & 5.17 onwards, the tabla beat pattern picks up on tempo.

From 5.55 onwards, the tabla beat pattern gradually increases to its fullest.

The overall effect of music arrangement and vocals is pleasant on the ears.

This song caters to the purists who don't like adulterated interference in their music.

With this song, Himesh proves that his foundations as a composed can neither be doubted not challenged.

Henceforth, when Himesh composes a song like PIYA JAISE LAADO from RADIO, it comes as no surprise because it is almost a VERSION 2 of this song, just that Himesh sung himself to add a COMMERCIAL ELEMENT (that was missing in AANE DO) by his straight singing in an otherwise classical song, after considering the fate of this song or this album for that matter.

This song is primarily for the critics, but it is doubted whether it features very regularly on a Himesh fan's playlist, unless they are big time into serious hardcore classical music.

Promos

My Picks

1. Lagne Lage Ho.

The underlying beat from 1.03 onwards has an unusual synthetic bazz element that would initially take time to get used to. Melodywise, stanzas are better than mukhda. BEST PART in 1st stanza is from 2.05 to 2.11, with catchy synthetic tune from 2.05 to 2.06 followed by OFF-DA-HOOK tune that wins over the listsner from 2.08 to 2.09 that give terrific instrumental effect to Sonu's lines. The unusual synthetic bazz beat is replaced by a laidback beat from 3.20 onwards. BEST PART in 2nd stanza is from 3.33 to , with OFF-DA-HOOK tune that wins over the listsner from 3.37 to 3.38 that give terrific instrumental effect to Alka's lines, with emphasis on her line MERA (OFF-DA-HOOK fulltu melodious) from 3.38 to 3.39. Jayesh Gandhi's catchy high pitched intense passionate feel soulful croons from 4.47 to end STRIKE A CHORD. Sonu's lines in 1st stanza, DARDE JIGAR (OFF-DA-HOOK singing n compositional notes) from 2.10 to 2.12, Alka's lines in 2nd stanza, MERA KARAAR (OFF-DA-HOOK singing n compositional notes) from 3.38 to 3.40, BEIKTIYAAR (OFF-DA-HOOK singing n compositional notes) from 3.50 to 3.52

2. Bhool Jayenge Hum Part 1 & 2.

Version 1

The soothing female chorus cast their melodious spell from 0.46 to 0.51. BEST MELODY in MUKHDA is Udit's line, MILOOOOO (catchy profound twist) from 0.42 to 0.43 & 1.00 to 1.01 Fast-paced tabla hit pattern from gives INTERMITTENT KICK / SAHI DESIRED EFFECT from 0.44 to 0.46 & 1.02 to 1.03. The soothing female chorus join in from 4.11 onwards to make proceedings even more melodious.

Version 2

The song comes across as a very pleasant gentle soothing hear to the ears. Udit's BEST mukhda line is TUM MILO TOH SANAM (typical unique HR melody) from 1.00 to 1.03 whereby he pours his heart out. Underlying free flowing beat kicks in from 0.46 onwards. The female background chorus belt out some catchy lines EK PAL DO GHARI TUM MILO TUM SANAM (melodious desperation feel) from 0.46 to 0.51, and again come to the party with their melodious croon from 1.15 to 1.44 in between 1st stanza gap. The laidback beat along with melodious ice coated female vocals from 2.30 to 2.56 in between 2nd stanza gap gives proceedings a NOSTALGIC touch. The jingle tune in stanzas gives great intermittent effect.

Where this version stands out is in between 2nd stanza gap from 2.31 to 2.55 whereby the mystic female vocals along with laidback beats make da proceedings nostalgic. Udit's vocals that replace the female portions in the 1st version are catchy and effective too.

3. Kuch Meetha Ho Jaye.

BEST PART of song is Jayesh's catchy high-pitched desperation plea croons in between 1st stanza gap from 1.54 to 2.05 on the lines, PYAAR JAHAAN HAIN RAB BHI WAHIN HAI, PYAAR NAHI TOH KUCH BHI NAHIN HAI whereby he literally pours his heart out. The well structured piano pice from 1.41 to 1.43 gives completeness effect to Sonu's mukhda lines. Sonu's voice in the line, HO JAAYE-EEEEEE (prolonged vibrato) and the lovely mesmerizing piano keys are layered together in unplugged mode from 1.41 to 1.43 to make it overall catchy.. It is great display by Himesh - the composer to merge vocals n instrument together for enhanced melody effect.

4. Aano Do Royal Stag Mega Mix.

5. O Jaana Tenu Rab Da Vaasta.

BEST PART of song is Kunal's opening lines from 0.06 to 0.39, with emphasis on line MAAN-THA (OFF-DA-HOOK typical unique HR melody twist) from 0.20 to 0.21, JAAN-THA (OFF-DA-HOOK typical unique HR melody twist) from 0.36 to 0.37

Aane Do (Thumri) is not rated.

This thumri caters to a select segment i.e. the elderly gentry n the musical purists who don't like any adulteration to their music whatsoever. Himesh has always said that his compositions are simplified versions of uljhi vi complex raga tunes. But since da critics won't stop questioning that statement, as actions speak louder than words, this song was a proof to them that Himesh Reshammiya's core roots n foundations as a composer can never ever be challenged.

Verdict

Kuch Meetha Ho Jaaye (2005) in pre-ABA era equates to Banaras in post-ABA era whereby Himesh focused on da semi-classical genre to cater to da elite niche segment i.e. da co-called classes and purists.

Unfortunately, it was a pity (or rather a shame) that this album didn't get its full due recognition, and being under a relatively small banner didn't help its cause to reach to one and all out there, although the initial promotions had gathed some momentum but then couldn't sustain to keep that same garnered momentum.

A contributing reason was also its restricted appeal to da wide mass segment of public.

This is because da proceedings were more of gentle laidback feel good nature rather than da 'dhin chak' sorta stuff.

The first two songs Bhool Jayenge Hum and Kuch Meetha Ho Jaaye had a strong 'semi-classical' belongingness which appeals to a rather elite segment i.e. the so-called class segment.

Lagne Lage Ho was a laidback serene melody again that a listener would like to listen to whilst on a pleasant evening drive, and it had a small hinderance due to its odd-sounding underlying synthetic beat that took time to get used to. Although the song really comes into its mesmerizing elements from 2nd stanza onwards but it was perhaps too late into da song as this initial beat factor perhaps was a reason for da skip button without da 'average' listener not lending a full ear to this song in entirety.

Mind you, the above songs were quite rich in melody but perhaps their laidback genre (3 back-to back on da trot) wasn't as explosive / dhamakedaar as per da expectations of aam junta.

O Jaana Tenu Rab Da Vaasta was da 'happy go lucky' peppy feel good rhythmic number that would have a wider appeal but perhaps it was too late to save da cause in terms of catching da eye of da mass who apparently rendered the earlier proceedings as lukeworm.

Aane Do once again had a very limited and restricted appeal due to its hard core classical roots in terms of genre i.e. Thumri which would cater mainly to da elder age segment i.e. da purists.

Aane Do - Royal Stag Mega Mix would sure be doing da rounds of local clubs. It was a unique extreme EAST-WEST / INDO-WEST FUZION MIX.

After da response that this album met, and also da fate of Banaras (that suffered due to its timing more than anything else), when Himesh was asked that why he preferred to stay in his comfort zone and repeat his stereotype sound rather than come out of his comfort zone and experiment with sound, he was prompt to point out that 'after doing works like Kuch Meetha Ho Jaaye and Banaras I realized perhaps what da average listener wants and what they perhaps don't want, and so hence I decided that quality gayi TEL LENE'.

Ofcourse, these were words echoing da sentiments of a disheartened composer who had set his heart in doing some passionate soulful work but this dejection would be eventually overcome when Himesh once again stepped out and delivered da soundtrax of RADIO as he believes in re-inventing himself with a new shift of sound domain after every cuple of years.

Forget about other listeners, Himesh's fans would well and truly recongize da class of melodies in this album that also reflects about da overall class of Himesh - the pre-ABA composer, who had nearly a commercial success rate of around 95% with some exceptions (like this album and some others that suffered and went unnoticed despite being top notch stuff, and it was sad to see some of himesh's best works also go unnoticed in this era, e.g. the top candidate being KI KARA MEIN KI KARA from NIGEHBAAN - THE THIRD EYE).

Listen