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Chura Liya Hai Tumne

The beginning tune literally begins as if a person is in heaven/paradise (jannat) jaise dhua sa uth raha hai and nectar is flowing slowly, simply MAJESTIC.

Feel good guitar riffs between 0.15 & 0.23

Shaan is the perfect choice.

The instrument playing from 0.24 to 0.27, behind unplugged opening line DIL KO is incredible.

Shaan's line, HAI (desperation plea emphasis) at 0.29 & 0.36 gives HALKE SE KICK.

Alka’s line, CHURALIYA from 0.31 to 0.33 is melodious.

From 0.39 onwards, the subtle beats play and a bazz instrument also kicks in.

The majestic oriental flute from 0.53 to 0.59 is joined in by catchy 3 step descending tune from 0.57 to 0.59

The tune on the lines AANKHON SE KAAJAL KI taraah PHUULOO SE KHUSHBOO KI taraah between 0.59 and 1.09 is very catchy & hummable.

Shaan's line, DIL KO-OOOO (emphasis vocals give JAZBA / SIKE) from 1.09 to 1.11 followed by a terrific rising cute tune from 1.11 to 1.13

The jazba / sike feeling from 1.09 to 1.12 can be best felt when heard in context of whole lines from 0.59 onwards.

The quick majestic keyboard flick from 1.23 to 1.24 followed by abrupt bazz trumpet hit in unplugged mode at 1.25 gives KICK.

Shaan's line, jaanaaAAAAAAAA (catchy prolonged voice deepening with whole hearted vocals) from 1.26 to 1.30 & 1.36 to 1.38

OFF-DA-HOOK feel good guitar riffs from 1.28 to 1.30 that were also similarly used from 2.33 to 2.35 in TUM MILE from MY NAME IS ANTHONY GONSALVES gives KICK.

Shaan's line, YEH KYA KIYA (terrific utter soothing feel) from 1.31 to 1.32

Simple lyrics like, O JAANA...YEH KYA KIYA TUMNE totally connect, hats off Sameerji and take a bow!

The 3 KEY tune sur at 1.38 is the HIGHLIGHT and it gives TERRIFIC melodious effect when heard in overall context of associated lines.

The quick keyboard flick from 1.50 to 1.51, 2.57 to 2.58 & 4.17 to 4.18 has been used countless times in pre-ABA songs.

The quick drum effect at 2.01 was also similarly used at 1.11 in MOHABBAT HAI MIRCHI, at 2.33 in HUMKO CHAHIYE from ISHQ HAI TUMSE, SANAM MERE HUMRAAZ from HUMRAAZ at 1.05 and at 2.26 SARZAMEEN SE from ZAMEEN.

Between mukhda & 1st stanza, the bazz instrument plays followed by oriental flute along with faint male vocals. Off-da-hook majestic oriental flute followed by off-da-hook repetitive matka echo sound (as if a large matka / pot / wine barrel has been pushed hard from one side and it rotates sideways and continually moves back and forth before finding and regaining its balance again on the floor) from 2.30 to 2.35

1st stanza

Shaan sings with care free vocals and the likeable piano piece between 2.40 & 2.42 is easy on ears.

The female chorus UUUUU from 2.48 to 2.49 gives awesome sooth effect.

From 2.55 to 2.57, DIL KOOOO (feel good vocals).

Between 1st & 2nd stanza, the soothing female chorus is followed by Shaan’s catchy lines tum tam tum tam ta ta re * 4 along with the catchy guitar riffs in SYNC. Alka’s lines CHURA LIYAAAA (melodious twist) HAAAAAAI (halke se dying effect) from 3.29 to 3.38. Shaan’s TUM-NEEEEE (prolonged high pitch vocals) CHURALI-YAAAA (fulltu highpitched, fully expresses himself) HAAAAAAAAI (prolonged slow dying effect followed by SEDUCTIVE female loud whispers) from 3.39 to 3.49 gets the listener into the groove. The matka beat with echo effect plus oriental flute piece from 3.50 to 3.51 is OFF-DA-HOOK.

2nd stanza

The majestic sound effect from 4.08 to 4.10 was similarly used from 3.12 to 3.14 in OODHNI from TERE NAAM gives SIKE.

Alka’s lines from 4.10 to 4.14 are catchy & hummable.

Alka's line, DIL KO from 4.15 to 4.17

Alka's line, DIL KO (awesome halke se feel) - OOOOOO (terrific prolonged melody) from 4.16 to 4.18 followed by majestic quick rising haunt feel keyboard flick from 4.17 to 4.18

Alka’s line, CHURALIYA HAI (awesome feel twist at 4.25) TUMNE * 2 is melodious from 4.18 to 4.28, 

Alka's line, HAAI (melodious emphasis twist) at 4.25 & 4.50, and Shaan returns the earlier favour by crooning CHURALIYA (soothing feel) in between.

OFF-DA-HOOK feel good guitar riffs from 4.30 to 4.31

Alka’s lines, KIYA (melodious twist) at 4.32, OH JAANAAAAA (melodious prolonged voice deepening) from 4.37 to 4.38, YEH KYA KIYA (melodious desperation plea emphasis) at 4.40

The 3 KEY tune sur at 4.39 is the HIGHLIGHT and it gives TERRIFIC melodious effect when heard in overall context of associated lines.

Highlights of this song:

1. Heavenly orchestra/instruments that give mesmerizing effect, one of himesh's best in pre ABA era.

2. Shaan’s care free vocals and Alka’s melodious vocals.

3. The keyboard flicks, bazz sound, matka beat echo effect with oriental flute and guitar riffs.

4. Whatever is in between 1st & 2nd stanza gap

5. The 3 KEY tune sur at 1.38 & 4.39.

This terrific SERENE TROPICAL melody is one of Himesh reshammiya's finest TYPICAL UNIQUE 'composed only' melodies.

Mohabbat Hai Mirchi

The song starts with a build up repetitive jingle chime bell piece 'representative of the ones in Buddhist temples near Tibet' in unplugged mode, with an element of INTERNATIONAL FEEL courtesy due to the oriental 'Chineese' female vocals followed by soothing female vocals.

The synthetic sound from 0.32 onwards followed by CULT male mouth vocals at 0.35 & 0.39 and intermittent sound of loud female seductive feel whispers MIRCHI set the undertone of the song.

The build up is great from 0.40 onwards with the simple yet catchy theme piece pattern.

The fast beats hit at 0.55 followed by the underlying rhythmic beats.

The quick drum effect at 1.11 that gives perfect kick start to Shaan's vocals was also similarly used at 2.01 in CHURA LIYA HAI TUMNE TITLE TRAX, at 2.33 in HUMKO CHAHIYE from ISHQ HAI TUMSE, SANAM MERE HUMRAAZ from HUMRAAZ at 1.05 and at 2.26 SARZAMEEN SE from ZAMEEN.

Shaan sings with energy, zeal and vigor.

The feel good guitar piece from 1.14 to 1.16 & 1.18 to 1.20 gives intermittent build up to Shaan's lines.

The intermittent bazz trumpet from 1.20 onwards is of great cause.

Shaan's lines, IMAN BATA KAR from 1.28 to 1.29 are catchy.

Shaan's catchy line, MOHABBAT KI KALIYA (awesome feel good emphasis) SANAM from 1.42 to 1.44 & 1.58 to 2.00 is BEST melody of the song.

The peppy trumpet in between gives KICK, especially from 2.00 to 2.02 & 2.26 to 2.28

Gayatri Iyer's catchy line MOHABBAT KI KALIYAAN (OFF-DA-HOOK halke se twist) SANAM from 2.25 to 2.26 is BEST melody of song.

Between mukhda & 1st stanza, a groovy sound from 2.28 to 2.35 is followed by a quick catchy funky guitar piece from 2.36 to 2.51 followed by the theme piece.

1st stanza

The quick drum beat effect from 3.01 to 3.02 gives perfect kick start to Shaan's vocals.

Shaan sings with care free vocals on effective composition pattern.

The quick synthetic piano gives good effect from 3.08 to 3.10

The bazz trumpet that joins in from 3.18 onwards is of great cause.

Shaan’s catchy line, YEH JAAN ME JANNAT from 3.26 to 3.27 is sung with passion and intensity.

Between 1st & 2nd stanza, Shaan's innovative HAAAH mouth effect borrowed from the 'kabeela' genre from 3.44 to 3.52 along with seductive feel female whispers MIRCHI is followed by fast drum-roll beats from 4.15 to 4.16 followed by rebel no-remorse 'Africanish' female vocals that give an international touch.

2nd stanza

The quick drum beat effect from 4.41 to 4.42 gives perfect kick start to Shaan's vocals.

Shaan sings with care free vocals on effective composition pattern.

The quick synthetic piano gives good effect from 4.08 to 4.49

The bazz trumpet that joins in from 4.58 onwards is of great cause.

Shaan’s lines, KHUSHBU JAISI NARM NARM YEH JUGNU JAISI GARM GARM from 5.02 to 5.06 sung with intensity.

Shaan's line, YEH PYAR SE PYAR from 5.06 to 5.07 is catchy feel good melody.

The trumpet in between 5.48 & 5.49, 6.04 & 6.05 gets even more 'fanfare' type funkier.

The song finishes with loud female seductive feel whispers MIRCHI * 3.

Highlights of this song:

1. Shaan's 'deliberately adjusted' feel good emphasis vocals and Gayatri Iyer's feel penetrating feel good vocals.

2. Underlying lively beats to justify and do justice to this item / club song.

3. Starting build up jingle chime bell tune, synthetic tune, catchy theme piece, intermittent bazz trumpet, peppy trumpet that gives kick, fast drum hits at start of stanzas and feel good intermittent guitar piece.

4. The groovy sound followed by quick catchy funky guitar piece in between 1st stanza gap, and Shaan's kabeela styled mouth vocal skip effect followed by rebellious no remorse Africanish female croons in between 2nd stanza gap.

5. The chineese oriental female vocals and soothing female chorus at start, dodgy male mouth effect at start and loud female seductive feel whispers MIRCHI.

Don't U Love Me Baby

The tune sur from 0.38 is a great build-up.

At 0.52, dil SE-EEEE(up)-EEEE(up)-EEEE(up)-EEEE(up)-EEEE(down twist) is great composition

At 1.18, after the lines don't you love me baby, two beats hit along with bazz sound and they are great

Female chorus at 1.22, 1.24, 1.27

At 1.35, raat he AADE-EEEE(up)-EEEE(up)-EEEE(up)-EEEE(up)-EEEE(down twist) is great composition

At 1.40, after the lines just go to sleep baby, two beats hit along with bazz sound and they are great

At 2.14, the female chorus UUUU

1st stanza

From 2.28 onwards, female chorus UUUUU

At 2.35, the musician flicks the keyboard from left to right

From 2.47 onwards, sojao tum milenge hum sapno ke mele mein is melodious

At 2.53, great tune sur (2 violin keys up down)

From 2.56, 2.59, 3.01, the female chorus TARA RA, the lines TERI SHARAM, TERI SAASEIN are great

Note the tune at 3.07

Between 1st and 2nd stanza, the feelgood female chorus do their thing followed by a cute flute

2nd stanza

From 3.53, female chorus

At 4.00, musician flicks through keyboard left to right

From 4.12 to 4.18, melodious...YUN...MODH LO...emphasis

The song finishes with a strong guitar flick

Highlights of this song:

1. The female chorus crooning TARA RA in the mukhda lines and UUUUU in the antara lines.

2. Alka yagnik's melodious vocals.

3. 2 additional beats plus the bazz sound used intermittently.

4. The english lines 'don't you love me baby...just go to sleep baby' to give the feel good factor.

This is a feelgood melodious song.

Boys Are Best

This is a really peppy and chilled out number.

The starting feel good male vocals until 0.09 remind of the feel good male vocals from 1.22 to 1.26 in YE LADKI from MAINE PYAR KYUN KIYA.

Shaan's TI RI RA PA PA RE are very feel good croons.

The semi-plugged beat from 0.20 to 0.29 builds up the song.

The quick raw drum-roll beats from 0.33 to 0.34, 0.53 to 0.54 & 1.23 to 1.24 give sahi desired effect and some kick.

The underlying prom styled beat bears a similar resemblance to the prom styled beats in GUSTAKH DIL from DIL MAANGE MORE, but their tempo is faster in this song.

The sitar flicks from 0.35 to 0.44 is an interesting mix.

From 0.44 to 0.52, the finger snaps enhance the peppy bright upbeat nature of this song.

The harmonica tune sur in between 0.57 to 1.04 & 1.26 to 1.34 sounds cute.

A special mention of Shaan's line CHU - RA (deliberate roll / twist of tongue) - LENGE from 1.00 to 1.01 & JAAN LO (deliberate roll / twist of tongue) at 1.11 is typical element of Himesh - the pre ABA composer whereby he asks his singers to roll the RRR's in a feel good manner, most notably used in lines KI KA- RR (deliberate roll / twist of tongue) - A in KI KARA MEIN KI KARA from NIGEHBAAN - THE 3rd EYE.

The feel good tune in sync with Shaan's & Sunithi's feel good croons from 1.14 to 1.22 & 1.44 to 1.53 enhances the overall feel good effect.

The bottle top opening effect from 1.05 to 1.13 & 1.34 to 1.42 is of great cause.

Between mukhda & 1st stanza, a funky guitar piece plays from 1.54 to 2.03 followed by feel good female vocal croons along with underlying beat effect from 2.04 to 2.13 followed by quick drum-roll beats.

The composition and vocals of both stanzas are simple and feel good, with the lyrics being a verbal seesaw tussle and pun-intended mud slinging between both genders to prove their undisputed superiority over one another.

1st stanza

The naughty female vocals at 2.23 get the listeners excited and threaten to make them go crazy berserk.

The feel good grand trumpet from 2.32 to 2.33 is of great cause.

The cute harmonica tune sur in between Sunithi's lines from 2.35 to 2.43 is of great cause.

Between 1st & 2nd stanza, the female chorus croon with feel factor to add emotional quotient (which is a stark contrast in an otherwise fulltu feel good song & their uusual feel good croons) from 2.53 to 3.09 to make the protagonist realize the importance of females by using an otherwise diplomatic medium of emotional blackmail to make them give in and succumb to the issue in question. Jab seedhi ungli se ghee nahi nikalta toh ungli tedhi karni padti hai!

 2nd stanza

The naughty female vocals at 3.20 get the listeners excited and threaten to make them go crazy berserk.

The feel good grand trumpet from 3.29 to 3.30 is of great cause.

The cute harmonica tune sur in between Shaan's lines from 3.32 to 3.40 is of great cause.

The male chorus finally joins in from 3.40 to 3.50 & 4.00 to 4.09 to lend a helping hand to the hero / male protagonist to push forward his case with stamp of authority over it.

Highlights of this song:

1. Shaan's deliberate tongue roll twists in words CHURALENGE, JAAN - LO & Sunithi's feel good vocals.

2. The underlying GUSTAKH DIL styled feel good prom styled rhythmic beats, the quick raw drum-roll beats, sitar tune piece, semi-plugged beat and finger snaps for build up effect,  bottle top opening effect, cute harmonmica tune sur, funky guitar and feel good grand trumpet.

3. Feel good (intermittently throughout), naughty (in stanzas) & emotional feel (in between 2nd stanza gap) female croons.

4. Feel good male vocals at start and additional male croons towards the end.

5. Interesting innovative mix of lyrics that narrate an ultimate verbal war of superiority between opposite ends that attract.

So are boys or girls best? I think it is girls because ladies first in any case and secondly, umm...ya ya ya, I am totally convinced, because of because!

Dil Hai Mera

This sad song is based on two passionate lovers that are at crossroads due to misunderstanding with regard to deceit and now are in two / split minds about their relationship.

It begins with a wicked oriental flute followed by underlying bazz sounds.

The synthetic piano piece with awesome tonal quality plays from 0.19 to 0.40

The prolonged female desperation plea alaap from 0.23 to 0.38 depicts the feeling of tadap and ehsaas.

The underlying rhythmically foot tapping beat kicks in from 0.30 onwards and it has a beat skip effect from 0.31 to 0.32, 0.33 to 0.34, 0.36 to 0.37 and so on.

The wicked oriental flute from 0.38 to 0.40 & 2.06 to 2.08 and the synthetic piano theme piece from 0.56 to 1.01, 1.20 to 1.25 & 1.41 to 1.46 gives great intermittent effect.

The intermittent desperation plea alaap in between 0.44 & 1.24, 1.42 & 2.00 depict the crux state of dilemma faced by both parties.

The subtle groovy tune from 0.49 to 0.51 & 1.34 to 1.36 gives some haunt feel.

The profound bazz sound from 1.14 to 1.15 & 1.59 to 2.00 gives some kick.

Udit's lines, BHEEGI (sooth feel) from 1.52 to 1.53 & CHOO KE (sooth feel) from 2.00 to 2.01

Between mukhda & 1st stanza, wicked oriental flute is followed by the synthetic piano theme piece and female desperation plea croons.

1st stanza

The lyrics from 2.14 to 2.30 depict the heroine's craving for her one and only dedicated lover / dream man and her gila shikwa with hero for vishwas ghaat.

The lyrics from 2.43 to 2.58 reassure the herione's doubts and restore her faith and trust that the hero's life is devoted to and incomplete without her and he'd rather die without his better half as he cannot bear this separation.

Lyrics like POOCHTI HAI DHADKAN MERI KYUN KARE AITBAAR? from 2.32 to 2.37 from a heronie's questioning viewpoint are responded by lyrics like CHU KE APNE DIL SE POOCHO KYUN KARE AITBAAR! from 3.02 to 3.07 whereby the hero does not have to prove, justify or clarify his unconditional love and he doesn't have to say anything because the heart says everything.

The subtle feel female chorus from 2.18 to 2.20, 2.47 to 2.49, 3.15 to 3.17 & 3.21 to 3.23 and the painful trumpet tune from 2.23 to 2.24 & 2.52 to 2.54 are of great cause.

Udit's lines, TERE (soothing feel) at 2.43 & SAANS (soothing feel) at 2.48

From 3.00 to 3.02, YA - AR (awesome halke se feel twist). 

The BEST part of song arrives near its climax with TERRIFIC sooth feel female chorus from 3.46 to 4.15, with emphasis on BAAVARI (mindblowing halke se feel) and TERRIFIC male treble croons HEEAAA (give halke se feel, express and convey emotions from inner soul) from 3.48 to 3.50 & 3.59 to 4.01, which is an after thought and reflection of their preceeding relationship in the sense that it has gone irrevesibly far to the point whereby both parties emote their hidden implicit feelings of desire to be back together by asking KYUN YEH DIL LAGAAYA RE? as deep down they know that now they cannot live/survive without each other and thus should reconsider their stance and reconcile their differences.

Highlights of this song:

1. Udit's subtle feel vocals and Mahalaxmi's desperation feel vocals.

2. Underlying rhythmically foot tapping laidback beat with skip pattern.

3. Wicked oriental flute, synthetic piano theme piece, subtle groovy tune, bazz sound and painful trumpet tune.

4. Female desperation plea alaap / croons, subtle feel female chorus, the combo of sooth feel female chorus and male treble croons at end that are best part.

5. Touching meaningful lyrics that are tailormade for such a song and they take the story forward from its situational backdrop.

This song is not your tyical old style Himesh melody but it commands a lot of respect and speaks volumes of the class of Himesh - the composer.

Love Theme - Instrumental

History lines:

1. The quick piano flick from 1.23 to 1.24 along with the 1 hit bazz trumpet at 1.24 that gives sike.

2. The keyboard note at 1.38 when heard in overall context of the tune.

3. The oriental flute followed by incredible off-da-hook beat effect (just like shaking a heavy matka and it quickly rotates to and fro on the ground in the process of finding some balance) from 2.29 to 2.31, just listen to it!

My Picks

1. Chura Liya Hai Tumne (and Love Theme Instrumental).

Chura Liya Hai Tumne

The orchestration of this song is fairytale MAJESTIC. The sound at start is as if DHUA SA UTH RAHA HAI JANNAT MEIN. The oriental flute from 0.04 to 0.13 & 0.55 to 0.59. Shaan's line, DIL KO from 1.09 to 1.12 gives SIKE. The quick keyboard flick followed by 1 bazz trumpet hit from 1.23 to 1.24 gives KICK. Shaan's line, YEH KYA KIYA (TERRIFIC sooth feel lyrics) from 1.31 to 1.32. Between 1st stanza gap, mesmerizing oriental flute followed by OFF-DA-HOOK matka shake effect from 2.30 to 2.33. Between 2nd stanza gap, Shaan's line, TUM TAM TA TA RE RE (catchy repetitive croons) from 3.19 to 3.29, CHURALIYA HAI (OFF-DA-HOOK fulltu high-pitched) from 3.43 to 3.45, mesmerizing oriental flute followed by OFF-DA-HOOK matka shake effect from 3.50 to 3.51. OFF-DA-HOOK feel good guitar riffs from 1.28 to 1.30 & 4.30 to 4.31.Terrific three key tune sur from 1.37 to 1.38 & 4.38 to 4.39

2. Mohabbat Hai Mirchi

It is a vintage pre ABA Himesh item / club song. Vibrant orchestration gives kick. Song has a grand opening with oriental Chinese female vocals and an African-ish n kabeela touch with heavy drums in between stanza gaps. Catchiest lines in the song are female singer (Mahalaxmi Iyer's) lines, MOHABBAT KI KALIYAAN (OFF-DA-HOOK twist that gets listeners into da zone) SANAM from 2.25 to 2.27

3. Don't U Love Me Baby

4. Dil Hai Mera

The underlying beats have an intermittent stop-start skip pattern.The BEST part of song is right at end with catcy female croons BAAVARE KYUN YEH DIL LAGAYA RE from 3.47 to 4.15 along with intermittent SOULFUL male croons HEEEEE from 3.48 to 3.50 & 4.00 to 4.01

5. Boys R Best

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