Home

Tere Naam

With the music of Tere naam (keeping in mind his earlier good works), Himesh proves that he has what it takes to rule the charts and to be known as an A - league composer.

The song begins with a mesmerizing emotional feel violin piece (3 keys, 2 notes down) in unplugged mode and joined in by Alka's intermittent croons.

Udit arrives onto da scene to belt out some soulful subtle feel vocals from 0.28 onwards.

Udit's line, HO - OOOO (typical unique HR melody) from 0.46 to 0.48 & 2.07 to 2.08 was similarly used from from 0.18 to 0.20 in HARE KAANCH KI CHUDIYAAN from MILENGE MILENGE ORIGINAL. 

The catchy feel good guitar riffs from 0.55 to 1.00 that build up the song and set its undertone are joined in by a catchy feel good guitar theme piece (with an inherent twist) from 1.01 onwards which was a household instrument used for similar purpose in many pre ABA songs, for example at start of KABHI NA SUKOON AAYA from KOI AAP SA and MERI NAS NAS MEIN TUM HO from DNJAK. 

The rhythmic underlying beats join in from 1.12 onwards.

A terrific 4 times repetitive subtle flute tune plays from 1.23 to 1.28

Alka's croons, LA LA LA LA (terrific melodious) from 1.30 to 1.33 is the build up part, followed by her line, LA (OFF DA HOOK fulltu high pitched melody) LA LA LA from 1.36 to 1.38 that gives the kill effect.

The profound dholak beats with a quick repetitive skip pattern effect that kick in from 1.39 onwards were similarly used from 1.23 onwards in KABHI NA SUKOON AAYA from KOI AAP SA and from 0.41 onwards in MERI NAS NAS MEIN TUM HO from DIL NE JISE APNA KAHA.

Udit's lines, KIYA HAI - AAI - AAI - AAI (awesome well structured 4 step descending notes) from 1.43 to 1.45, TUMSE EE - EE -EE (awesome well structured 4 step descending notes) 2.01 to 2.03

Udit's line, SAARA (HISTORY composition notes) from 1.47 to 1.48 & HAMARA (HISTORY composition notes) from 2.05 to 2.06 forms the CORE MELODY of his mukhda lines.

From 1.45 to 1.48, 2.03 to 2.06 & 2.29 to 2.32, the 3 lazy heavy beats (that were similarly used from 1.51 to 1.52 in KABHI NA SUKUN AAYA from KOI AAP SA) followed by fast-paced tabla beats (that were similarly used from 3.10 to 3.11 & 4.33 to 4.34 in KYUN KI ITNA PYAR TUMKO, from 1.53 to 1.54 & 3.00 to 3.01 in DIL KE BADLE SANAM from KYON KI, and from 2.55 to 2.56 & 4.04 to 4.05 in MERI NAS NAS MEIN TUM HO from DIL NE JISE AAPNA KAHA) give tremendous intermittent KICK and sahi desired effect.

Himesh gives Alka the liberty to express her melodious feel good croons from 2.14 to 2.40 that depict the heronie's chirpiness and jovialness who hops and sings along da traditional outdoors in her own merry ways, with emphasis on her line LAAAA (awesome twist) from 2.24 to 2.25 and LAAAAA (prolonged melody) from 2.38 to 2.40

Between mukhda & 1st stanza, the catchy feel good guitar theme piece is back from 2.40 onwards (OFF-DA-HOOK feel good from 3.00 to 3.02) and joined in by a mesmerizing traditional flute (bansuri) from 2.53 to 3.01 that depicts the innocence feel (masoomiat) of the protagonist's love. OFF-DA-HOOK soothing melodious female chorus cast their spell from 3.02 to 3.13, with emphasis on line SAATHIYAA (terrific twists) at 3.02 & 3.09, along with catchy 3 repetitive key flicks (tune sur) at altering notes depict the heroine's sahelis that are making her realize her shyness.

1st stanza

The fast-paced tabla beats from 3.14 to 3.15 give perfect kick start to Udit's lines.

The well structured composition notes / pattern is simple yet effectively catchy as depicted below.

Udit's lines, LAGTA HAI (normal note) from 3.16 to 3.17 followed by guitar riffs (normal note) from 3.18 to 3.19 that give completeness effect, Udit's lines, LAGTA HAI (higher note) from 3.22 to 3.23 followed by guitar riffs (higher note) from 3.23 to 3.24 that give completeness effect.

Udit's lines, REHTE HAI (normal note) from 3.27 to 3.28 followed by guitar riffs (normal note) from 3.28 to 3.29 that give completeness effect, Udit's lines, KEHTE HAI (higher note) from 3.32 to 3.33

Special mention for lyricist Sameerji who is a master of rhyming lyrics.

An awesome haunt tune plays from 3.34 to 3.35

Udit's line, TERE BINA (terrific typical unique HR melody notes) from 3.35 to 3.37, TERE (terrific catchy quick twist wins over the listener) BINA from 3.38 to 3.40 depicts the desperation emphasis plea from Hero's viewpoint.

Udit's line, GUZAARA (terrific composition notes) from 3.48 to 3.49

Between 1st & 2nd stanza, quick rising piano keys from 3.55 to 3.57 are followed by lovely laidback synthetic elec piano piece from 3.58 to 4.07 joined in by female haunt feel chorus from 4.08 to 4.18 as if all is not well and something wrong may be bound to happen, followed by the build up of an interconnecting keyboard tune piece from 4.19 to 4.25 with quick rising keyboard flick (that Himesh has used countless times in pre ABA era) from 4.23 to 4.25 that was similarly used from 3.13 to 3.16 & 3.35 to 3.38 in MAINE CHUN LIYA from DIL MAANGE MORE. The combo of female melodious chorus and profound heavy dholak beats that go hand in hand in sync signify a Punjabi Gidha setting from 4.25 to 4.52 which is BEST MELODY of the song and also one of the BEST EVER 'typical unique HR melody' pieces, with empahasis on line ISHQ KA DHAAGA (typical unique HR melody) from 4.34 to 4.35 & 4.47 to 4.48, TOO (HISTORY fulltu high-pitched emphasis melodious voice rise with emphasis feel twist) TE at 4.36 & 4.49, Himesh take a bow! The OFF-DA-HOOK soothing melodious female chorus cast their spell from 4.52 to 5.03 along with catchy 3 repetitive key flicks (tune sur) that depict the heroine's sahelis that are making her realize her shyness.

2nd stanza

The fast-paced tabla beats from 5.05 to 5.06 give perfect kick start to Udit's lines.

The well structured composition notes / pattern is simple yet effectively catchy as depicted below.

Udit's lines, DHAARO MEIN (normal note) from 5.06 to 5.07 followed by tune sur (normal note) from 5.08 to 5.09 that give completeness effect, Udit's lines, SITARO MEIN (higher note) from 5.12 to 5.13 followed by tune sur (higher note) from 5.13 to 5.14 that give completeness effect.

Udit's lines, TAPTI HAI (normal note) from 5.17 to 5.18 followed by guitar riffs (normal note) from 5.18 to 5.19 that give completeness effect, Udit's lines, JAPTI HAI (higher note) from 5.22 to 5.23 

Special mention for Sameerji's lyrics in between 5.03 & 5.24

An awesome haunt tune plays from 5.24 to 5.25

Udit's line, TERE LIYE (terrific typical unique HR melody notes) from 5.25 to 5.28, TERE (terrific catchy quick twist wins over the listener) LIYE from 5.28 to 5.30 depicts the desperation emphasis plea from Hero's viewpoint.

Udit's line, GAVAARA (terrific composition notes) from 5.38 to 5.40

The song ends with emotional feel female chorus from 6.06 onwards joined by Alka's line TERE NAAM (melodious high pitched desperation plea) from 6.20 to 6.22 and Udit's line TERE NAAM (prolonged emphasis) from 6.25 to end, thus emphasizing the film's Title.

Highlights of this song:

1. Udit's subtle sooth feel vocals and Alka's melodious vocals.

2. The underlying rhythmic dholak beats, 3 lazy heavy beats followed by fast-paced tabla beats, mesmerizing emotional feel violin piece (3 keys, 2 notes down) at start, catchy feel good guitar riffs, catchy feel good guitar theme piece (with an inherent twist) and awesome haunt feel tune in both stanzas.

3. The mesmerizing traditional flute (bansuri) in between 1st stanza gap and laidback synthetic elec piano piece, female haunt feel chorus and quick rising piano keys in between 2nd stanza gap.

4. Off-da-hook soothing female chorus along with catchy 3 key repetitive tune at altering notes in between both stanza gaps and emotional feel female chorus towards the end.

5. Female melodious chorus along with profound heavy dholak beats that signify of a Gidha (Punjabi) setting from 4.25 to 4.52 are the BEST PART of song.

This song brought Himesh into the limelight big time as in for official recognition of his genius 'catchy and infectious' melody that made many eyebrows pop and was noticed by one and all.

Oodhni

Alka begins this song with her melodious vocals, with emphasis on LA (halke se up twist) at 0.19

The synthetic bazz instrument plays along with semi-unplugged beat from 0.30 onwards to build up the song.

The traditional flute joins in from 0.37 onwards.

Alka's line, OOO(twist)DHNI at 0.46, NIIII (desperation feel) from 0.59 to 1.00

From 1.02 to 1.18, the female chorus join in along with repetitive key hits.

From 1.19 to 1.23 & 1.35 to 1.39, 2.21 to 2.25, the tabla hits give sahi desired effect followed by full beats.

The dholak beats represent the traditional outdoor setting.

The jingle chime effect from 1.42 to 1.43 & 1.50 to 1.51 is majestic.

The repetitive synthetic piano keys from 1.56 to 1.59, 2.05 to 2.07 & 2.33 to 2.36 are awesome.

The bazz trumpet kicks in from 2.08 to 2.09, 2.37 to 2.38 is great.

Between mukhda & 1st stanza, HISTORY male vocals woooo uo oooo WWWWW (NORMAL note) followed by HISTORY tune NORMAL twist from 2.52 to 2.53, woooo uo oooo WWWWW (LOWER note) followed by HISTORY tune LOWER twist from 2.56 to 2.57. The quick repetitive keyboard flick from 2.58 to 3.04 is HISTORY. From 3.05 to 3.11, the pleasantly innocent bansuri piece that is representative of traditional Indian outdoor setting gives halke se feel. The sound effect from 3.12 to 3.14 was similarly used from 4.08 to 4.10 in CHURA LIYA HAI TUMNE TITLE TRAX. The quick MANDOLIN tune along with tabla beats in SYNC from 3.21 to 3.22 is OFF-DA-HOOK and gives TREMENDOUS KICK. The traditional drum hits from 2.49 to 3.12 get the listener into the groove.The HISTORY tune from 2.52 to 2.53 & 2.56 to 2.57 belongs to the same set of instrument/s used for the OFF-DA-HOOK tune at 1.52 & 3.03 in YE LADKI from MAINE PYAR KYUN KIYA. It is a treat to watch Sallu mia doing his thing in da music video on Himesh's best ever musical pieces!

1st stanza

Alka's lines, BOLE CHUDI (terrific catchy melodious vocals) from 3.22 to 3.23 followed by HISTORY JINGLE CHIME effect (normal key note) at 3.24, PAYALIYAA (HISTORY profound classical twist) from 3.24 to 3.25 followed by HISTORY JINGLE CHIME (higher key note) effect 3.26, AAA (terrific gradual halke se feel voice rise) JAA from 3.27 to 3.28, followed by HISTORY innocent feel bansuri piece from 3.29 to 3.31

Her line, TERE NAAM KA from 3.46 to 3.48 gets melodiously heavy on da listener.

From 3.53 to 3.57, the tabla beats in SYNC with vocals give sahi desired effect.

In totality, Alka's vocals along with lyrics and orchestration showcase da innocence of love at its best (as portrayed by Bhumika Chawla in this part of its music video).

Between 1st & 2nd stanza, traditional heavy drums hit followed by rajasthani folk tune with perfect SYNC between them from 4.22 to 4.24. This is followed by male and female chorus followed by rajasthani tune along with great traditional drum beat pattern. From 4.56 to 5.03, the terrific tune with feel factor connects with and wins over the listener.

2nd stanza

The tabla hit pattern from 5.04 to 5.05 gives a perfect kick start to the stanza.

The traditional drum beat from 5.05 to 5.34 is what the doctor ordered.

The synthetic piano flicks from 5.07 to 5.08 & 5.12 to 5.13 are great build up and the KEY effect is the synthetic piano flicks from 5.08 to 5.09 & 5.16 to 5.17 that give HALKE SE KICK in overall context of Udit's associated lines.

Udit's line, EHSAAS (soothing feel) from 5.10 to 5.11 & 5.18 to 5.19

From 5.36 to 5.39, the tabla beats in SYNC with vocals give sahi desired effect.

The synthetic piano flick from 5.50 to 5.51 & 6.10 to 6.11 is majestic.

The song ends with female vocals along with continuous pleasant flute and intermittent bazz trumpet effect.

Highlights of this song:

1. Typical unique HR Indian Melody in composition structure and instrument effects.

2. Alka's melodious vocals and Udit subtle feel vocal's.

3. From 2.50 to 3.05 because it is one of HR's BEST EVER tune pieces.

4. The underlying traditional DRUM/DHOL heavy beat patterns used superbly to give kick in both stanzas, the synthetic piano flicks, bazz trumpet, rajasthani tunes, traditional flute, mandolin and CHIME/JINGLE tunes used especially in the stanzas to give terrific effect.

This song was pivotal to his career as there was no looking back and building upon this history work.

5. Soothing female chorus.

Oodhni - Alka Live

The live orchestra does great justice to one of the ultimate best ever 'typical unique HR melody' pieces from 1.39 to 2.01 which sounds catchy like hell. Alka pours her heart out in line, AAAA (OFF-DA-HOOK melodious desperation plea twist) JAA from 2.14 to 2.15 & 2.23 to 2.24, TERE NAAM (OFF-DA-HOOK melodious feel) from 2.22 to 2.23, HAAA (OFF-DA-HOOK melodious halke se feel) at 2.36

Tumse Milna

Alka starts the song with her melodious croons in unplugged mode and Udit's subtle feel vocals give her company.

The piano piece along with one beat hit sets the undertone after which the main underlying beat kicks in.

The lovely repetitive piano piece pattern from 0.39 to 0.48 is the theme piece in essence.

The soothing female croon from 0.49 onwards and also behind Udit's vocals.

The synthetic piano pattern from 1.07 to 1.08 and the upward flick from 1.17 to 1.18

The repetitive hook from 1.18 to 1.22 is catchy.

Alka's vocals are melodious along with soothing female chorus with emphasis on KYA, KYUN (feel twist), KYA (feel twist), HAAN (desperation), in between lines 1.41 and 1.45

In between mukhda and 1st stanza, an awesome traditional tune plays followed by likeable piano piece.

1st stanza

The beat effect at 2.25 gives great kick start.

Sanu sings with subtle feel vocals with emphasis on JHO (feel good) at 2.42

The string tune from 2.35 to 2.37 gives good intermittent effect.

Between 1st and 2nd stanza, the Indian string based instrument plays followed by a traditional tune. This is followed by a feel good trumpet tune.

2nd stanza

The beat effect at 3.34 gives great kick start.

Alka sings with melodious vocals with emphasis on KORE AANCHAL (melody) from 3.37 to 3.38, JHOOO (twist) at 3.52, BA(feel good emphasis)DA at 3.54

The string tune from 3.45 to 3.46 gives good intermittent effect.

The continuous female chorus from 4.01 to 4.18 gives good overall melodious effect.

The trumpet with feel factor plays from 4.19 to 4.24 followed by repetitive piano pattern.

Highlights of this song:

1. Alka's melodious vocals and Udit's subtle feel vocals, and soothing female chorus.

2. The keyboard theme piece and flicks, string instrument and traditional tunes in between stanza gaps.

This is a refreshing melodious song.

O Jaana

The harmonica piece is followed by shaan's feel good vocals and female chorus.

The funky guitar piece plays form 0.31 onwards to build up the song.

The fast drum roll beats from 0.57 to 0.58, 1.19 to 1.20, 1.38 to 1.39, 1.52 to 1.53 are similar to the drum roll beats from 0.22 to 0.25, 1.34 to 1.35, 1.54 to 1.55 in GUSTAKH DIL (DIL MANGE MORE), from 0.33 to 0.34 in BOYS ARE BEST (CHURA LIYA HAI TUMNE), from 0.38 to 0.39 in TAAZA TAAZA (KYA DIL NE KAHAA) and from 0.50 to 0.51, 2.23 to 2.24, 2.43 to 2.44 in KOI AAP JAISA (VAAH! LIFE HO TOH AISI).

The underlying peppy beat pattern is representative of the underlying beat pattern of GUSTAKH DIL (DIL MANGE MORE), BOYS ARE BEST (CHURA LIYA HAI TUMNE), TAAZA TAAZA (KYA DIL NE KAHAA) and OH JAANA (TERE NAAM).

The finger claps from 1.04 to 1.19 build up the song well.

The continuous descending tune sur from 1.31 to 1.37 give good overall effect and this pattern was also used in TAAZA TAAZA (KYA DIL NE KAHAA) from 1.29 to 1.33
Between mukhda and 1st stanza, funky sounds play followed by feel good trumpet and funky guitar piece.

1st stanza

The feel good female chorus give good effect behind Udit's lines.

The soothing female chorus followed by quick rising keyboard flick from 3.09 to 3.11
Alka's vocals are feel good melodious.

Between 1st and 2nd stanza, shaan's feel good vocals return followed by soothing female chorus.

2nd stanza

The feel good female chorus give good effect behind Alka's lines.

Alka's vocals are feel good melodious.

The soothing female chorus followed by quick rising keyboard flick from 4.31 to 4.33
The descending continuous tune sur from 4.44 to 4.49 gives great overall effect and this pattern was also used in TAAZA TAAZA (KYA DIL NE KAHAA) from 4.37 to 4.40

The song finishes with female chorus croons along with shaan's feel good vocals.

Highlights of this song:

1. Shaan's feel good vocals, Alka's melodious vocals and female chorus.

2. The peppy underlying beats, fast drum-roll beats and descending tune sur from 1.31 to 1.37, 4.44 to 4.49

Chand

Shaan does the favor to croon the opening lines.

A wicked guitar piece plays from 0.18 onwards followed by a repetitive tune piece and female chorus.

The beats from 0.31 onwards were similarly used in CHAHAT KHI KHUSHBOO from ISHQ HAI TUMSE but obviously their beat pattern and tempo was different but intended "overall effect" was similar.

The funky guitar plays from 0.37 onwards and the tune sur from 0.43 to 0.45 is interesting.

Udit sings with feel good vocals on a feel good composition pattern.

The profound tabla beats from 1.11 to 1.12, 1.25 to 1.26 give sahi desired effect.

The female chorus croons intermittently along with repetitive tune pattern to give soothing melody.

The groovy sound pattern from 1.38 to 1.41 and 1.48 to 1.50

Between mukhda and 1st stanza, a clap effect along with techno sound followed by a funky trumpet piece and soothing female chorus especially from 2.38 to 2.40

1st stanza

The entire composition pattern from 2.41 to 2.59 is brighter note and likeable. It is more superior in melody as compared to the mukhda portion.

Between 1st and 2nd stanza, Shaan returns with his croons accompanied by melodious female vocals. The twist in the subsequent guitar piece from 3.38 to 3.46 is great followed by melodious female chorus especially from 3.57 to 3.59

2nd stanza

The entire composition pattern from 4.00 to 4.17 is on a brighter note and likeable. It is more superior in melody as compared to the mukhda portion.

The repetitive keyboard pattern kicks in from 5.16 onwards and the keyboard pattern from 5.31 till end in DIL DIL (ISHQ HAI TUMSE) depict how HR intended such a pattern to be used that "was not the same" but used at same/similar point i.e. near the ending of the song for the "finishing effect" purposes.

Highlights of this song:

1. The stanzas are better in melody than mukhda.

2. Udit's feel good vocals and Shaan's croons at start, in between and end.

3. The soothing female chorus along with repetitive cute tune.

4. The underlying beats, the profound tabla beats that give sahi desired effect, groovy sound pattern and guitar piece.

This is a refreshingly likeable song.

Kyun Kisi Ko

The song starts with a sad folk theme piece that is used intermittently throughout the song.

Udit croons whole heartedly, YEEEEAAAAA.

The underlying bazz sound kick in from 0.50 onwards.

From 1.06 onwards, an instrument builds up slowly.

Lyrics are top-notch for emotion factor.

Udit's line, NAHI MILTI (OFF-DA-HOOK despreation plea twist) from 2.11 to 2.13 along with majestic chime instrument.

Between mukhda & 1st stanza, the sad folk theme piece is back followed by feel good guitar piece from 2.25 to 2.29 followed by soothing female vocals from 2.29 to 2.40 that convey feelings of tadap, dard and ehsaas.

1st stanza

Udit sings with very passionate soothing vocals.

From 3.00 to 3.03, intezaar MEE (normal) EEEE (up 2 notes) EEEE (down 1 note) EEEE (normal note) EEEE (down note) to 3.03 is good composition, followed by CHIMES.

Between 1st & 2nd stanza, the male vocals and instruments play as if a tradegy has occured. At 3.50, the flute piece is pleasant followed by soothing female background chorus until 4.05, with great purpose to the song.

2nd stanza

Udit's line, THEHRA NAHI (terrific sooth feel) followed by terrific 3 key tune that gives completeness effect from 4.09 to 4.11 is his best part from both stanzas. 

Highlights of this song:

1. Total domination by Udit Nayaran's Vocals full of feel (it is a pity that Himesh no longer uses him).

2. The sad musical setting/arrangement of the song as far as sound engineering is concerned.

3. A special mention of the lyrics.

This is Himesh's BEST SAD 'COMPOSED ONLY' song (along with TERE NAAM - SAD).

Tere Naam - Sad

The song begins with an emotional bansuri piece in unplugged mode followed by quick rising haunt keys from 0.05 to 0.07 which was a house hold name in pre ABA era.

The 2 key tune from 0.11 to 0.12, 0.17 to 0.18, 0.24 to 0.25 & 0.32 to 0.33 gives great sur to Udit's soulful croons.

The BEST part of song is Udit's line TERE siwa, with emphasis on TERE (HISTORY sooth feel) at 0.35 & 0.37

Udit's line, dariyaKAA (down note) AAAA (down) AAAA (down) AAAAA (down) from 0.46 to 0.49 has terrific well structured descending composition notes.

The slow laidback drum skips join in from 0.53 onwards to make proceedings even more sad.

The female chorus joins in from 1.26 onwards to depict the dard from tadap and ehsaas.

The song ends with an emotional bansuri piece in unplugged mode.

The 'audio-visuals' of this song leave the viewer gutted due to the tradegy which has struck i.e. Radhe escapes from the baba's aashrum with serious injuries in an attempt to re-unite with his loved one only to find that she committed suicide by taking poison and his world turns up side down and comes crashing whereby his very reason for existence is flawed and he resigns his fate to nature as he submits himself back by walking dejectedly towards the van. Truly shattering!

This one is a Himesh-Salman epic special, hence proving that its not all and only about Sallu mia doing his thing (dance steps) on rwakin Himesh melodies, but they can also deliver the killer punch in this mode, manner and fashion too in terms of its overall impact and connect with their audience!

Highlights of this song:

1. Udit's soulful subtle feel croons, especially his line TERE which is HISTORY sooth feel.

2. Emotional bansuri piece at start and end, quick rising haunt key flick, slow laidback drum skips.

3. Female chorus.

4. A special mention for the lyrics.

This shares the No.1 spot along with KYUN KISI KO in the category of the Himesh's BEST SAD 'COMPOSED ONLY' song.

Man Basiya

The song begins with Alka's innocent melodious croons along with sounds in a baba's shrine.

The traditional flute kicks in from 0.20 onwards and enhances the subtle feel.

The subtle drum beat pattern kicks in from 1.00 onwards along with intermittent pleasantly likeable jingle chime effect.

The traditional flute along with subtle feel female chorus from 1.35 to 1.48 is a musical treat.

The song ends with pleasant traditional flute, chime effect and subtle feel faint female croons that is a musical treat.

Emphasis on Alka's lines AA-II-AA (halke se voice rise) AAAA (deliberate voice shake) from 0.21 to 0.24, 0.36 to 0.39, 1.17 to 1.19, 1.28 to 1.30, 2.21 to 2.23 & 2.29 to 2.31, KANA (feel twist) at 0.28 & 0.41, PASARE (melodious high note) from 0.53 to 0.54, MANGAL (melody) from 1.00 to 1.01, CHARNO ME (melody) from 1.07 to 1.08, BELA (halke se kick) from 1.02 to 1.03, LAGI (melodious high note) from 1.53 to 1.54, TERI (halke se kick) from 1.55 to 1.56, MERA (melody) at 2.04, CHARNO ME (melody) at 2.11

Alka shows why she was the undisputed no.1 choice for Himesh - the composer in the pre-ABA melodies and her contribution in Himesh's music can never ever be underestimated.

My Picks

1. Oodhni & Tere Naam (tie, both are history songs that feature in Himesh's ultimate best ever pre ABA composed only song playlist). 

Tere Naam

Alka's croons, LA LA LA LA (terrific melodious) from 1.30 to 1.33 is BUILD UP part followed by, LA (OFF DA HOOK fulltu high pitched melody) LA LA LA from 1.36 to 1.38 that gives KILL effect. The underlying profound dholak beats with a quick repetitive skip pattern effect from 1.39 onwards. Udit's line, SAARA (HISTORY composition notes) from 1.47 to 1.48 & HAMARA (HISTORY composition notes) from 2.05 to 2.06 forms the CORE MELODY of da mukhda. The 3 lazy heavy beats followed by fast-paced tabla beats from 1.45 to 1.48, 2.03 to 2.06 & 2.29 to 2.32 give tremendous intermittent KICK. In between 1st stanza gap, OFF-DA-HOOK soothing melodious female chorus cast their spell from 3.02 to 3.13, with emphasis on line SAATHIYAA (terrific twists) at 3.02 & 3.09. Udit's line, TERE BINA (typical unique HR melody) from 3.35 to 3.37, TERE LIYE (typical unique HR melody) from 5.25 to 5.27 are his BEST LINES in both stanzas. BEST MELODY IN DA SONG is in between 2nd stanza gap, with the combo of female melodious chorus and profound heavy dholak beats that go hand in hand in sync from 4.25 to 4.52 and also one of the BEST EVER 'typical unique HR melody pieces', with emphasis on line ISHQ KA DHAAGA (typical unique HR melody) from 4.34 to 4.35 & 4.47 to 4.48, TOO (HISTORY fulltu high-pitched emphasis melodious voice rise with emphasis feel twist) TE at 4.36 & 4.49

Oodhni

BEST MELODY in da song is in between 1st stanza gap from 2.49 to 3.13 which is one of the BEST EVER typical unique HR melody pieces, with catchy male croons on history well structured notes followed by typical unique HR melody quick key flicks followed by innocent bansuri that gives halke se kick, along with OFF-DA-HOOK underlying profound heavy drum hits. The quick MANDOLIN tune along with tabla beats in SYNC from 3.21 to 3.22 is OFF-DA-HOOK and gives TREMENDOUS KICK. In 1st stanza, Alka's BEST lines are, BOLE CHUDI followed by HISTORY jingle effect (normal note) at 3.24, PAYALIYA (HISTORY profound twist) from 3.24 to 3.25 followed by HISTORY jingle effect (higher note) at 3.26, AAJA (terrific gradual feel voice rise, gives halke se kick) at 3.28. A HISTORY innocent feel bansuri plays from 3.29 to 3.31. Alka's vocals, TERE NAAM KA (melodious) from 3.46 to 3.47. In between 2nd stanza, the terrific tune with feel factor from 4.56 to 5.03 connects with and wins over the listener. In 2nd stanza, the synthetic piano flicks from 5.07 to 5.08 & 5.12 to 5.13 are great build up and the KEY effect is the synthetic piano flicks from 5.08 to 5.09 & 5.16 to 5.17 that give HALKE SE KICK in overall context of Udit's associated lines.

Himesh made exceptional use of OFF-DA-HOOK profound heavy traditional drums in between both stanza gaps that gives TREMENDOUS KICK i.e. off-da-hook profound heavy drum hit pattern at 3.01, 3.03, 3.05, 3.07, 3.09 n so on after every 2 sec gap that gives tremendous kick in between 1st stanza, n off-da-hook profound heavy quick reverse skip drum pattern from 4.22 to 4.24 that gives tremendous kick in between 2nd stanza gap.

2. Kyun Kisi Ko / Tumse Milna (tie)

Kyun Kisi Ko

Udit's line, NAHI MILTI (OFF-DA-HOOK despreation plea twist) from 2.11 to 2.13. Udit's line, THEHRA NAHI (terrific sooth feel) followed by terrific 3 key tune that gives completeness effect from 4.09 to 4.11 is his BEST PART from BOTH STANZAS. Udit's line, INTEZAAR MEIN-EE-EE-EE-EE-EN (off-da-hook prolonged catchy twist) from 3:00 to 3:03 in 1st stanza, KOI KYA KARE-EE-EE-EE-EE-EE (off-da-hook prolonged catchy twist) from 4:26 to 4:29 in 2nd stanza. Majestic sprinkler jingle chime effect at 2:11 to 2:13 & 3:03 to 3:04, Udit's best mukhda lines are HOTA HAI-AAAI (prolonged catchy twist) from 2:02 to 2:04, WAFA NAHI MILTI (catchy halke se twists) from 2:11 to 2:14

Tumse Milna

This song sounds fresh even now. Alka's line, HAAN MAGAR (off-da-hook high pitched desperation plea) at 1:44 & 3:50 strikes an emotional chord...quick majestic jingle theme piece from 4.25 to end.

3. O Jaana

4. Chand

From Short Adlips:

1. Tere Naam - Sad

2. Man Basiya

Both Tere Naam - Sad & Kyun Kisi Ko are Himesh's BEST 'composed only' SAD songs in pre ABA era. 

Verdict

Once in a blue moon, listeners are forced to ask themselves that how can the first two (opening title trax and second number) songs be that damn good that they both could be vying for that numero uno slot in da music album tracklist.

Is it that the music director was in his best creative mood or his fingers suddenly had a golden midas touch.

In terms of da album's stature and magnitude, Tere Naam in pre-ABA era is what Aap Ka Suroor is in da post-ABA era.

In their respective albums, Tere Naam title trax and oodhni match up to Tera Suroor and Naam Hai Tera whereby in both cases Himesh's creative musical talent and potential reaches its ultimate peak.

Whenever Himesh Reshammiya will be remembered, his two EVERGREEN KLASSIK BESTSELLERS (Tere Naam and Aap Ka Suroor) that have broken every imaginable record in musical sales will top da list of credentials as a proof of his musical maestro genious.

Having said that, in context to da pre-ABA era, despite other benchmark albums to contend with, Tere Naam is Himesh's best pre-ABA album with two of his best ever pre-ABA songs Tere Naam Title Trax and Oodhni.

This album was turning point for Himesh's career as a composer / music director in terms of taking him into da big A league whereby he was noticed big time by aam junta, given due recognition and was nominated for and won allocades, awards and also da respect of critics.

Salman khan once said in an interview "Himesh nahi bolta hai, Himesh ka kaam bolta hai" and Tere Naam is a testimony to this fact whereby 'kaam aisa bola ke sab ki bolti band kardi'!

Udit ji Tere Naam Live

waise live performance ka apna hi maza aur kuch aur hi effect hota hai...the starting interlude until 0:17 is awesome...Udit ji shakes his head as the instrumental piece plays from 0:52 to 0:53, and this is done for utmost appreciation of a song as if...waah, kya gaana banaya hai...many judges do this in live musical reality shows when singers are singing and certain portions just connect and give such feeling...Udit ji sings the antara gaps TERE ISHQ NE SAATHIYA from 2:38 to 2:43 and LAAGI CHUTE NA (off-da-hook twist at 4:00), ISHQ KA DHAAGA from 3:54 to 4:10 in his own andaz and it is nice to hear male version of this portion as in OST it is by female...Udit ji nails it at the end with his line TERE NAAM (off-da-hook fulltu voice rise) from 5:32 to 5:34

Listen