taarzan

Music review analysis of Himesh Reshammiya's album Taarzan - The Wonder Car (2004).

O Sajan

The song begins with a lovely piano piece very easy on ears followed by subtle melodious haunting vocals of Alka yagnik.

Alka's line LE GAYA TU, from 0.46 to 0.48 gives a strong HAUNTING MELODY effect.

The mesmerizing ORIENTAL FLUTE piece joins in followed by Alka's LA LA and female soothing chorus. Great build up here.

Udit takes over.

At 1.29, the 4 additional beats are effective.

The oriental flute from 1.34 to 1.36 is innocently cute.

The piano keys along side Udit's vocals from 1.39 to 1.51 are of great cause.

Alka's lines OH SAJAN LEGAYA TU MERA MANN are powerful both in unplugged and full beat mode.

The agressive rise in piano notes from 1.58 to 2.00 & 2.31 to 2.32 is the key effect here which gives some kick.

The full beat part is your old fashioned drum beats that give a traditional outdoor feel.

The BAZZ TRUMPET tune sur at 2.25, 2.27, 2.31 to 2.32, 2.33, 2.36 & 2.39 to 2.40 have vital role to play behind OH SANAM lines.

The subtle whistle effect alongside Udit's vocals from 2.11 to 2.24 adds a pleasant touch.

The 3 key piano notes from 2.39 to 2.41 have awesome innocent appeal.

Between mukhda & 1st stanza, an intense violin piece plays followed by feel good tune.

Ist stanza

At 3.13, the 4 quick additional beats give good effect to start of 1st stanza.

The stanza is very catchy on udit's lines especially the lines tune milkar and the flute piece gives good tune sur in between.

Alka's lines are very innocently melodious.

Again in the latter part of stanza (oh sanam) the tune sur is the key for overall effect.

Between 1st & 2nd stanza,the feel good flute is back along with guitar piece.

2nd stanza

4 additional beats.

Flute piece gives good tune sur.

Again, udit's lines are catchy and alka's vocals are innocently melodious.

At 4.00 & 5.38, deewana KAHO (emphasis) na.

Again in the latter part of stanza (oh sanam), the tune sur is the key for overall effect.

From 6.24 onwards, the female chorus (one of the biggest weapon of HR-the pre ABA composer) cast their magic spell until the end, whereby the song ends with gradually rising keyboard flick.

This is an awesome SERENE TROPICAL melody by Himesh Reshammiya.

Highlights of this song:

1. Udit's catchy vocals and alka's innocently melodious vocals.

2. The oriental flute piece, piano flicks, subtle whistle effect, bazz trumpet tune sur wherever mentioned especially behind oh sajan legaya tu mera mann (2.31 to 2.32 & 2.39 to 2.40 with emphasis).

3. The 4 additional beats, drum beats in oh sanam part and the soothing female chorus.

Chura Lo Part 1

Shaan begins on a subtle note in unplugged mode.

From 0.51 to 1.01, a signature trademark typical old himesh feel good guitar flick tune plays.

The underlying laidback beats that join in from 0.57 onwards have a serene effect in them.

The additional beats from 1.21 to 1.23 give great intermittent effect.

The soothing female chorus between 1.21 & 1.27, 1.38 & 1.45 is of great cause.

Between mukhda & 1st stanza, a cute harmonica tune piece plays from 1.49 to 2.00,  followed by feel good trumpet from 2.01 to 2.12 and likeable piano piece from 2.12 to 2.16

1st stanza

The quick rising bazz trumpet from 2.17 to 2.18 gives perfect kick start of Shaan's vocals.

The 2 quick matka hit effect at 2.20 gives great intermittent effect.

From 2.23 to 2.26, feel good guitar riffs that are typical trademark style of Himesh - the pre ABA composer.

Shaan's lines. MILE HO (OFF DA HOOK vocals that get listener into da zone) from 2.27 to 2.28

The subtle faint accompanying female vocals from 2.29 to 2.32 are of great cause.

Shaan's lines, HAR LAMHA BAS TUMKO SOCHU (OFF DA HOOK typical unique HR melody) from 2.32 to 2.35 

The groovy sound behind his vocals from 2.32 to 2.38 enhance the serene feel factor.

The quick rising keyboard notes from 2.42 to 2.43 sound cute and are in off da hook sync with underlying beat effect.

The soothing female chorus from 2.45 to 2.51 are of great cause.

Between 1st & 2nd stanza, a feel good guitar piece plays followed by awesome female seductive feel vocals from 3.07 to 3.16, especially their terrific sync with a catchy 4 key descending tune from 3.16 to 3.18

2nd stanza

Melodious Alka arrives onto da scene.

The 2 quick matka hit effect at 3.21 gives great intermittent effect.

From 3.24 to 3.27, feel good guitar riffs that are typical trademark style of Himesh - the pre ABA composer.

From 3.30 to 3.32, KILLER female vocals give halke se feel and try to connect with inner soul to give a terrific overall combined effect.

Alka's lines, SHAAM SAVERE BAS TERE HI (OFF DA HOOK typical unique HR melody) from 3.33 to 3.36 & AA JAYE (melodiously cute) from 3.42 to 3.43 

The groovy sound behind her vocals from 3.33 to 3.37 enhance the serene feel factor.

The quick rising keyboard notes from 3.43 to 3.44 sound cute and are in off da hook sync with underlying beat effect.

The female soothing feel good chorus ends the song.

Highlights of this song:

1. Shaan's feel good vocals and Alka's melodious vocals.

2. Underlying laidback beats.

3. Signature trademark feel guitar tune that are typically representative of the pre ABA Himesh, cute harmonica tune, likeable piano piece, quick rising bazz trumpet, 2 quick matka hit effect, feel good trumpet, groovy tune quick rising cute keyboard notes and catchy 4 key descending tune,

4. Soothing feel good female chorus and accompanying killer halke se feel female vocals in 2nd stanza.

This is one of best pre ABA laidback serene melodies with a soothing feel-good factor stamped all over it from start to finish.

Chura Lo part 2

Udit begins on a subtle note in unplugged mode, with emphasis on line SE - EE (awesome feel twist) from 0.07 to 0.09 

From 0.51 to 1.01, a signature trademark typical old himesh feel good guitar flick tune plays

The underlying laidback beats that join in from 0.58 onwards have a serene effect in them.

The additional beats from 1.22 to 1.23 give great intermittent effect.

The soothing female chorus between 1.22 & 1.28, 1.39 & 1.46 is of great cause.

Between mukhda & 1st stanza, a cute harmonica tune piece plays from 1.50 to 2.01, followed by feel good trumpet from 2.02 to 2.12 and likeable piano piece from 2.13 to 2.16

1st stanza

The quick rising bazz trumpet from 2.17 to 2.19 gives perfect kick start of Shaan's vocals.

The 2 quick matka hit effect at 2.21 gives great intermittent effect.

From 2.25 to 2.27, feel good guitar riffs that are typical trademark style of Himesh - the pre ABA composer.

The subtle faint accompanying female vocals from 2.30 to 2.33 are of great cause.

Udit's lines, PAR AB YEH AALAM HAI BAS TERI HI (OFF DA HOOK typical unique HR melody) from 2.33 to 2.36, AA JAYE (awesomely sung) from 2.42 to 2.43

The groovy sound behind his vocals from 2.33 to 2.39 enhance the serene feel factor.

The quick rising keyboard notes from 2.43 to 2.44 sound cute and are in off da hook sync with underlying beat effect.

The soothing female chorus from 2.46 to 2.52 are of great cause.

Between 1st & 2nd stanza, a feel good guitar piece plays followed by awesome female seductive feel vocals from 3.08 to 3.19, especially their terrific sync with a catchy 4 key descending tune from 3.16 to 3.19

2nd stanza

Melodious Alka arrives onto da scene, with emphasis on her line BEKARAAR (off-da-hook melody) from 3.19 to 3.20 in unplugged mode.

The 2 quick matka hit effect at 3.22 gives great intermittent effect.

From 3.25 to 3.28, feel good guitar riffs that are typical trademark style of Himesh - the pre ABA composer.

From 3.31 to 3.33, KILLER female vocals give halke se feel and try to connect with inner soul to give a terrific overall combined effect.

Alka's lines from 3.34 to 3.36, POOCHO NA HAAL-E-DIL MERA (OFF DA HOOK typical unique HR melody) from 3.33 to 3.37 & AA JAYE (melodiously cute) from 3.43 to 3.44

The groovy sound behind her vocals from 3.34 to 3.39 enhance the serene feel factor.

The quick rising keyboard notes from 3.44 to 3.45 sound cute and are in off da hook sync with underlying beat effect.

The female soothing feel good chorus ends the song.

Highlights of this song:

1. Udit's feel good vocals and Alka's melodious vocals.

2. Underlying laidback beats.

3. Signature trademark feel guitar tune that are typically representative of the pre ABA Himesh, cute harmonica tune, likeable piano piece, quick rising bazz trumpet, 2 quick matka hit effect, feel good trumpet, groovy tune, quick rising cute keyboard notes and catchy 4 key descending tune,

4. Soothing feel good female chorus and accompanying killer halke se feel female vocals in 2nd stanza.

This is one of best pre ABA laidback serene melodies with a soothing feel-good factor stamped all over it from start to finish.

Both versions are equally good in their own respective ways.

Chura Lo - Himesh Version live

Listen from 14.20 to 15.00

Himesh was going to use one of his best pre-ABA serene ballads in Milenge Milenge but it ended up instead in this film.

Gonna Fall In Love

http://www.youtube.com/?watch?v=k-_QCNcFDT0

Lookin for some foottappin high n rich in energy peppy yet melodious music, then O makhna is da song.

The song begins with peppy beats in unplugged mode followed by underlying bazz sound.

The tune from 0.14 to 0.17 gives awesome sur / scale to the song.

A peppy tune plays from 0.17 to 0.24 

From 0.24 onwards, the foot tapping beats kick in.

Off-da-hook naughty male vocals from 0.25 to 0.26 get da song rolling and underway.

A well structured catchy harmonica tune piece plays from 0.26 to 0.35

From 0.36 to 1.02, Jayesh's high pitched croons are followed by feel good female chorus followed by Kunal's pitched low feel good croons (awesome pitch variation in totality!). 

Kunal's line, khaTAAAAAAAAA (awesome prolonged voice deepening) from 1.03 to 1.06

Kunal's & Alka's line, TOH ME TOH ME from 1.13 to 1.14 & 1.41 to 1.42 along with underlying heavy drum hits in SYNC is rwaking sudden abrupt composition.

The profound quick heavy drum hits from 1.14 & 1.42 onwards along with gradually rising naughty cheeky female and male screams until 1.16 & 1.43 that gradually grow upon da listener, build tremendous sike / get da adrenaline flowing and off-da-hook kill effect is given at 1.17 & 1.44 when the chorus close in with an abrupt loud halt manner that drives the listener crazy, berserk and estatic.

From 1.17 to 1.25 & 1.45 to 1.53, the underlying peppy rhythmic beats kick in along with the core mukhda melody lines OH MAKHNA VE OH MAKHNA.

Catchy punjabi tune plays from 1.36 to 1.39

Alka's lines, TOH ME TOH ME (striking melody) from 1.41 to 1.42 & OH MAKHNA (pleasantly melodious) from 1.51 to 1.52

Between mukhda & 1st stanza, peppy punjabi flavoured tune piece plays along with underlying rhythmic beats that hit it hard and sharp from 1.53 to 2.07 followed by Jayesh's high pitched feel good emphasis croons.

1st stanza

The combo of naughty cheeky feel good female chorus AH HA and catchy punjabi tune in between 2.19 & 2.26 give great build up effect.

Kunal's line , AAEE (typical unique HR melody twist) at 2.34

The catchy punjabi flavoured beats in between 2.43 to 2.46 give great intermittent build up effect.

From 2.48 to 2.52, Kunal's abrupt line ME TOH ME TOH in sync with underlying heavy drum hits is followed by fast paced drum beats that just hit it followed by gradually rising naughty cheeky female and male vocals that build tremendous sike / get da adrenaline flowing and off-da-hook kill effect is given when the chorus close in with an abrupt loud halt manner that drives the listener crazy and estatic.

Between 1st & 2nd stanza, a peppy synthetic tune plays from 3.01 to 3.09 followed by grand feel good trumpet from 3.09 to 3.19

2nd stanza

The combo of naughty cheeky feel good female chorus AH HA and catchy punjabi tune in between 3.21 & 3.29 give great build up effect.

Alka's line, HAAAI (typical unique HR melody twist) from 3.36 to 3.37 was similarly used in her line, PYAR AA (quick emphasis typical unique HR melody twist) YA from 2.38 to 2.39 in KABHI NA SUKOON AAYA from KOI AAP SA and 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.

From 3.40 to 3.41, mein toh bhUUUULLLIIIII (striking melody) din from 3.40 to 3.41, VEE - EEE (halke se melodious twist) from 3.42 to 3.44, VAASTAAA (awesome melodioud desperation plea) from 3.45 to 3.46

The catchy punjabi flavoured beats in between 3.46 to 3.49 give great intermittent build up effect.

Alka's line, DIL VICH DIL VICH (PINCHING MELODY) from 3.50 to 3.51 in sync with underlying heavy drum hits is followed by fast faced drum beats that just hit it followed by gradually rising naughty cheeky female and male vocals that build tremendous sike / get da adrenaline flowing and off-da-hook kill effect is given when the chorus close in at 3.54 with an abrupt loud halt manner that drives the listener crazy and estatic.

Alka's core mukhda lines, OH MAKHNA * 2 from 3.54 to 4.02 are melodious.

The song ends with feel good female chorus.

Highlights of this song:

1. Kunal's feel good vocals and Alka's melodious vocals.

2. Underlying rhythmically foot tapping beats.

3. Drum hits in SYNC behind TOH ME TOH ME followed by fast paced drum beats until the female and male chorus close in with an abrupt finish / stop effect (total sike building).

4. Catchy punjabi flavored tunes, peppy synthetic tune, grand feel good trumpet and well structured catchy harmonica tune piece.

5. Female naughty cheeky feel good  croons especially AA HA in the stanzas and Jayesh's bindaas playful mischief croons.

Ooh La La Re

KK begins proceedings in a feel good chillax mode.

The trumpet from 0.27 to 0.46 is great buildup.

The feel good harmonica tune plays from 0.46 to 0.53

Catchy grand trumpet piece plays from 0.55 to 1.05 along with free flowing rhythmic beats that kick in from 0.55 onwards.

KK croons the mukhda vocals in a bright lively manner.

The BEST PART of song comes from 1.24 to 1.33 & 1.54 to 1.59 when beats go unplugged and KK croons 'Khushboo hawah mein ghulgai, dhadkan to aashiqui milgai * 2' along with soothing female vocals.

KK's lines, DHAD (straight singing gives KICK, HISTORY) KAN at 1.26 & 1.57

KK's line, KABHI ANKH MACHAL MACHAL MACHAL (off-da-hook quick catchy repetitive hook) GAYI (catchy twist) along with off-da-hook quick beat effect that gives intermittent kick from 1.33 to 1.36 & 1.59 to 2.01 that was similarly used (albeit with a slower tempo) from 1.02 to 1.03 in KYON KI TITLE TRAX.

Between mukhda & 1st stanza, the grand trumpet plays followed by harmonica tune.

1st stanza

The beat effect from 2.40 to 2.41 is in SYNC with KK's vocals.

Remaining stanza is feel good.

Between 1st & 2nd stanza, a bright peppy tune plece plays along with intermittent train horns followed by a cute sounding tune and funky guitar riffs from 3.52 to 4.01 followed by an intense violin piece from 4.02 to 4.10

2nd stanza

Super melodious vocals of Alka yagnik take the song to another level.

Her lines, HONE LAGI (along with the 4 beats in SYNC) from 4.12 to 4.13, IN SAANSON MEIN SANAM (striking high-pitched melody) from 4.13 to 4.15

Alka's lines, SANAM (awesome quick profound twist) REE (awesome quick profound twist) from 4.15 to 4.18 & 4.24 to 4.27 along with jayesh gandhi's faint vocals in higher pitch. 

Her lines, SAPNA TERA IN AANKHON ME (striking high-pitched melody) from 4.21 to 4.24

Highlights of this song:

1. Mast free flowing rhythmic beats.

2. KK's (sharp and soothing feelgood) and Alka's (always melodious) Vocals.

3. Female chorus behind KK's semi-plugged mukhda lines.

4. Beat effect in sync, trumpet and harmonica tune.

Play this song if the listeners want to brighten up their mood or if they are already in a jovial mood.

Dil Se Juda Ehsaas

In the promo, Incredible typical unique HR melody at its very best, especially Alka's melodious haunt feel vocals on Himesh's prolonged steep tune from 0.20 onwards till end, whereby da audio-visuals of this trailer strike a chord n blow away da viewers.

The song starts with a bazz unplugged instrument along with a flute piece followed by underlying thumping beat skips at 0.13 to 0.22 that gets da listener into da groove/zone.

Between 0.19 and 0.21, the musician quickly flicks through his keys.

OFF-DA-HOOK computerized phone line tone from 0.22 to 0.31 after which Jayesh Gandhi (a household name) goes about his business until 0.50 with his catchy croons.

From 0.51 to 1.09, the signature theme piece of this song plays.

Alka's vocals from 1.45 onwards, tu hi mera junoon yaara tuh hi armaan hai tu hi tu mere aarmano me tu meri jaan HAAAAAI (melody).

From 1.55 to 2.05, DIL (melodious pinch sensation) SE JUDA EHSAAS (melodious pinch sensation) HAI TU (normal) UUU (sudden abrupt up, terrific melody) UUU down UUU down UUU up UUU down, to give complete effect and going down extacy lane. This is the BEST PART and ONE OF THE BEST EVER MELODY TUNE PIECES THAT A FAN IS EVER GOING TO HEAR.

From 2.12 onwards, a mesmerizing tune piece plays especially at 2.21 after which the keyboard hits up up up up 3 notes (total 4 times).

Stanzas are groovy.

1st stanza

The background tune sur on lines 2.44 to 2.53

Between 1st & 2nd stanza, the combo of trumpet and flute is splendid until 3.34

2nd stanza

Alka returns to enhance the melodious feel in this love ballad & note the tune sur from 3.49 to 3.57 after which jayesh does his usual crooning.

The listener gets a second time treat of one of the BEST EVER MEOLDY PIECE between 4.08 and 4.18 (HISTORY).

From 4.46 to 4.48, note the computerized flute in unplugged mode followed by JUST ONE HIT of the BAZZ instrument at 4.47 (OFF DA HOOK stuff, what TIMING to get hold of the listeners pulse).

Jayesh Gandhi's lines, OO-OO-OO (quick rising catch croons) and the tune sur (quick rising in SYNC) from 4.53 to 4.57 are overall CATCHY.

Highlights of this song:

1. Alka Yagnik's utter melodious genuis vocals (that include the one of BEST melodies that a fan is EVER going to hear).

2. Jayesh Gandhi's crooning vocals.

3. The underlying thumping beat, instruments that time tune sur at right desired places.

4. Kumar sanu's low vocals along with feel factor.

This is one of the BEST SERENE TROPICAL MELODIES composed by Himesh - the pre ABA composer. 

Verdict

Taarzan - The Wonder Car (2004) is comprised of:

Terrific SERENE TROPICAL melodies:

> Dil Se Juda Ehsaas (one of best in this genre).

> Chura Lo (one of best in this genre).

> O Sajan.

and

Rhythmically foot tapping IN DA CLUB item / dance numbers:

> Ooh La La Re.

> O Makhna Ve.

Both which make da cut and feature in his best playlist in this genre.

A composer is in top form when even his simple tunes sound infectiously catchy.

Himesh was in top form in TAARZAN - THE WONDER CAR as evidenced by these simple well structured lines that sounded infectiously catchy like hell.

> OH MAKHNA VE...OH MAKHNA from 1.17 to 1.25 & 1.45 to 1.53 in GONNA FALL IN LOVE.

> KHUSHBU HAWAON MEIN GHUL GAYI...DHADKAN KOH AASHIQUI MIL GAYI from 1.24 to 1.32 & 1.54 to 1.58 in OOH LA LA RE.

What superb melody! Both these foot tapping peppy compositions were catchy as hell.

At times, Himesh - the pre ABA composer had the ultimate melodious midas touch in his notes.

My Picks

Taarzan - The Wonder Car was a masterclass by Himesh - the pre ABA composer whereby most songs were equally good n neck to neck with each other in terms of being full of typical unique HR melody i.e. Dil Se Juda Ehsaas / Chura Lo which were top serene tropical love ballads n Gonna Fall In Love / Ooh La La Re which were catchy peppy dance tracks. O Sajan is another terrific serene tropical melody which isn't far behind the race either.

1. Dil Se Jura Ehsaas Hai Tu, Chura Lo Part 1 / Part 2, Gonna Fall In Love & Ooh La La Re (tie)

Dil Se Jura Ehsaas

The string based guitar theme piece (with inherent twist) from 0.51 to 1.09 is used interrmittently throughout. An OFF-DA-HOOK computerized phone line tone is used from 0.22 to 0.50, 1.26 to 1.31, 1.36 to 1.41, 1.45 to 1.55 and so on. BEST PART of song is Alka's prolonged high-pitched melody on one of BEST EVER typical unique HR melody from 1.55 to 3.06 & 4.08 to 4.20 with emphasis on line TUUU-UUUU (HISTORY sudden steep voice rise) from 2.00 to 2.01 & 4.14 to 4.15, The catchy groovy tune piece in between 1st stanza gap from 2.12 to 2.30. From 4.46 to 4.48, The computerized flute in unplugged mode from 4.46 to 4.48 followed by JUST ONE HIT of the BAZZ instrument at 4.47 (OFF DA HOOK timing to get hold of the listeners pulse). Jayesh Gandhi's lines, OO-OO-OO (quick rising catch croons) and the tune sur (quick rising in SYNC) from 4.53 to 4.57 are overall CATCHY. 

Chura Lo Part 1 (Shaan and Alka).

One of Himesh's BEST EVER Serene ballads. Underlying beat from 0.57 onwards is laidback rhythmic. The feel good string based theme piece from 0.51 to 1.02 used intermittently throughout is catchy. Shaan's line, TUM MILE HO (OFF-DA-HOOK emphasis feel that just konnekts) from 2.27 to 2.28. The soulful female croons from 2.29 to 2.31 connect. BEST MELODY in 1st STANZA is Shaan's line, HAR LAMHA BAS TUMKO SOCHU AUR BAS TUMKO MEHSOOS KARU (OFF-DA-HOOK typical unique HR melody) from 2.32 to 2.38 along with an OFF-DA-HOOK groovy computerized phone line tone with echo effect. the quick rising CUTE tune in SYNC with quick raw drum hits from 2.42 to 2.44 & 3.43 to 3.45 give KICK. The female seductive feel croons in between 2nd stanza gap from 3.07 to 3.18 are catchy. The soulful female croons from 3.30 to 3.32 connect. BEST PART in 2nd stanza is the female soulful desperation plea croon from 3.30 to 3.32 that just konnekts, followed by Alka's lines, BAS TERE HI (OFF-DA-HOOK typical unique HR melody) from 3.34 to 3.36, followed by OFF-DA-HOOK computerized groovy phone line tone from 3.36 to 3.38 

Chura Lo Part 2 (Udit and Alka).

One of Himesh's BEST EVER Serene ballads. Udit's line, DIL SE-EE-EE (profound twist that gives halke se feel kick) from 0.07 to 0.10. Underlying beat from 0.58 onwards is laidback rhythmic. The feel good string based theme piece from 0.52 to 1.03 used intermittently throughout is catchy. The soulful female croons from 2.30 to 2.33 connect. BEST MELODY in 1st STANZA is Udit's line, PAR AB YEH ALAAM HAI BAS TERI HI BAATEIN KARTA HOON (OFF-DA-HOOK typical unique HR melody) from 2.33 to 2.39 along with an OFF-DA-HOOK computerized phone line tone with echo effect. The quick rising CUTE tune from 2.43 to 2.45 & 3.44 to 3.45 in SYNC with an additional beat gives KICK. The female seductive feel croons in between 2nd stanza gap from 3.08 to 3.19 are catchy. The soulful female croons from 3.31 to 3.33 connect. BEST MELODY in 2nd STANZA is Alka's line, PUCHO NA HAALE DIL MERA PUCHO YEH DEEWANAPAN (OFF-DA-HOOK typical unique HR melody) from 3.34 to 3.39 along with an OFF-DA-HOOK computerized phone line tone with echo effect.

Shaan - Alka version is slightly better than Udit - Alka version...because Shaan's vocals add more serene feel to the trax.

Ooh La La Re

BEST PART of song is KK's HISTORY lines, KHUSHBOO HAWAON ME GHULGAYEE DHADKAN KOH AASHIQUE MILGAYEE from 1.24 to 1.33 & 1.54 to 1.58 in unplugged mode along with soothing female chorus. The trumpet piece from 0.56 to 1.05 is catchy. Underlying rhythmic beats are free flowing. Alka's BEST lines are, IN SAANSON MEIN SANAM (striking high-pitched melody) from 4.13 to 4.15, SAPNA TERA IN AANKHON ME (striking high-pitched melody) from 4.21 to 4.24, SANAM (awesome quick profound twist) REE (awesome quick profound twist) from 4.15 to 4.18 & 4.24 to 4.27

2. O Sajan

Listen

 

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