Music Review Analysis of Himesh Reshammiya's album Humshakals (2014).

{tabs Callertune}

The song begins with raw upbeat rhythmic beat until 0.07, joined in by vibrant peppy techno tune until 0.15

Underlying bazz joins in from 0.15 onwards whereby the rhythic foot tapping beat gets into full form, along with vibrant peppy techno theme piece.

Neeraj Shreedhar and Neeti Mohan are the perfect choices.

The repetitive mukhda hook is simple and well structured i.e. CALLER TUNE BABY (normal note) CALLER TUNE BABY (higher note).

Neeti provides great intermittent vocal interlude CALLER TUNE BABY (sung with wholehearted flair) in between Neeraj’s mukhda hook line.

Neeraj sings the well structured free flowing mukhda lines with feel good vocals.

The vibrant peppy techno theme piece in between Neeraj's vocals from 0.41 to 1.00 provides great build up rhythm and enhances the overall catchiness of his muhda lines.

The lyric, MUJHE APNA BANAALE SONIYE doesn’t make any sense, but that’s perfectly okay for a mad cap no brainer film like this one.

The listener can imagine Neeraj smiling as he croons CHAHU SUMMER WINTER MONSOON from 0.55 to 0.57

Neeraj’s line, HAI-AI (well sung) from 1.06 to 1.07

Neeraj’s line, TU MERA HAI JUNOON (down twist, well sung) from 1.21 to 1.23

Off-da-hook splatter whoosh effect that pans across left n right, followed by off-da-hook guitar riff from 1.19 to 1.22 in unplugged mode gives great intermittent effect, followed by full on underlying rhythmic beats that kick start the song again.

Between mukhda & 1st stanza, a quick peppy tune piece plays.

1st stanza

Neeraj sings the well structured free flowing stanza lines with feel good emphasis vocals, especially on lines DEWAANAPAN, JEENA HAI MARNA HAI.

Neeti’s feel good vocals in lower Alto pitch are likeable and flow across like a pleasant breeze.

The intermittent techno bazz riff pattern at 2.09, 2.11, 2.13, 2.15 adds zing to her lines.

Between 1st & 2nd stanza, a likeable groovy ambient tune plays from 2.46 to 2.53 followed by vibrant peppy techno theme piece.

2nd stanza

Neeraj sings the well structured free flowing mukhda lines with feel good emphasis vocals, especially on lines KHAYALON MEIN, YOU ARE THE ONE FOR ME.

Neeti’s feel good vocals in lower Alto pitch are likeable and flow across like a pleasant breeze.

The intermittent techno bazz riff pattern at  3.17. 3.19, 3.21, 3.23 adds zing to her lines.

The song ends with the underlying beat gradually fading away.

Highlights of this song:

1. Neeraj Shreedhar’s feel good emphasis vocals.

2. Neeti Mohan’s feel good vocals with flair.

3. Underlying rhythmic foot tapping beat with techno bazz riffs.

4. Vibrant peppy techno theme piece, Off-da-hook splatter whoosh effect that pans across left n right, followed by off-da-hook guitar riff from 1.19 to 1.22 in unplugged mode gives great intermittent effect

5. Quick peppy tune piece in between 1st stanza gap, groovy ambient tune piece in between 2nd stanza gap.

6. Hin-glish lyrics with a mix of Hindi n English.

{tabs Piya Ke Bazaar Mein}

The song takes the listener into the heartland setting of India.

It begins with peppy interior Desi styled theme piece until 0.16 which is the instrumental USP of the song, with awesome quick twists from 0.02 to 0.04 & 0.11 to 0.12

Mast tapori desi styled beats kick in from 0.08 onwards.

Peppy baaja tune piece plays from 0.16 to 0.28

The repetitive mukhda pattern from 0.29 to 0.45 is simple and Himesh is accompanied by additional quawali styled male vocals.

Lol lyrics, By God Teri Seva Karenge..Oo Meri Bhullo Rani.

The composition pattern of female lines from 0.48 to 0.57 &  is free flowing.

The drum hits from 0.59 to 1.01 & 1.43 to 1.46 give great intermittent effect.

Himesh’s lines, AAJA AAJA in the core mukhda hook line are full of trademark Nazal Twang.

Between mukhda & 1st stanza, the peppy interior Desi styled instrumental USP theme piece is back.

1st stanza

The compositional pattern is simple and Palak sings with feel good vocals.

The quick drum roll hits at 2.09 give great kick start start to Palak's stanza lines.

Himesh’s lines, CHAIN HAI TU-UUU-UUU (profound twists that belong to Sufi Rwak school of music), SUKUUN BHI TU-UUU-UUU (profound twists that belong to Sufi Rwak school of music).

Himesh sings lines from 2.20 to 2.23 with sincere feel vocals.

Between 1st & 2nd stanza, quawali styled male vocals do their naaribaazi.

2nd stanza

The compositional pattern is simple and Palak sings with feel good vocals.

The quick drum roll hits at 3.11 give great kick start start to Palak's stanza lines.

Himesh’s line, HUMRAAZ-UM-MMM (profound twists that belong to Sufi Rwak school of music), DEVDAAS-UM-MMM (profound twists that belong to Sufi Rwak school of music).

Himesh sings lines from 3.22 to 3.25 with sincere feel vocals.

Highlights of this song:

1. Himesh’s enthaustic vocals.

2. Palak Mucchal’s feel good vocals.

3. Mast underlying tapori desi styled beats.

4. Peppy interior Desi styled theme piece with awesome quick twists which is instrumental USP, intermittent drum hits, peppy baaja tune piece and quick drum roll hits at start of stanzas.

{tabs Just Look Into My Eyes}

The song begins with peppy vibrant theme piece which is the instrumental USP of the song, along with repetitive clap effect that builds up the song.

Live wire electro beat kicks in from 0.15 onwards.

Ash King and Neeti Mohan sing their lines with feel good vocals.

The jovial upbeat female repetitive croons from give completeness effect and enhance the rhythm.

Neeti Mohan's mukhda line, YEH DIL HUA FANAA PUCHO NA MERE YAAR JOH HOTA HAI HONE DO in lower Alto pitch are the best lines in the song.

Between mukhda & 1st stanza, the peppy vibrant instrumental USP theme piece is back along with repetitive clap effect from 1.26 to 1.32 for build up and quick hits from 1.32 to 1.34 for intermittent kick.

1st stanza

Ash King and Neeti Mohan sing the simple well structured lines with feel good vocals.

Between 1st & 2nd stanza, a vibrant electro peppy tune plays from 2.07 to 2.22 followed by peppy vibrant instrumental USP theme piece with repetitive clap effect from 2.29 to 2.35 for build up and quick hits from 2.35 to 2.37 for intermittent kick.

2nd stanza

Ash King and Neeti Mohan sing the simple well structured lines with feel good vocals.

Highlights of this song:

1. Ash King’s and Neeti Mohan’s feel good vocals.

2. Underlying live wire electro beat.

3. Peppy vibrant instrumental USP theme piece, and repetitive clap effect.

4. Jovial upbeat female repetitive croons.

{tabs Barbaad Raat}

The song begins with a groovy tune piece in unplugged mode.

The RnB Hop Hop beat kicks in from 0.09 onwards.

The funky trumpet theme piece plays from 0.19 to 0.36, hilarious end twist at 0.26 & 0.35

The composition pattern is free flowing and feel good.

Sanam Puri and Shalmali Kholgade are the perfect choices.

Their mukhda lines are the Build up part, along with underlying light chime effect.

Shalmali’s line, DON’T YOU BREAK MY HEART (passionate feel) from 0.53 to 0.56 is sung with flair n attitude.

Shalmali’s line, TERI MERI RA-AA-AA-AT (awesome quick twists) from 0.58 to 1.00 along with Off-da-hook reverse CD spin effect and wicked cult bazz sound as if a RollsRoyce engine races on.

After this build up part, Himesh delivers the Knock Out punch and hits a sixer with his vintage trademark croon, OO-WOON-OO-WOON-OO-WOON-WAAN WAAN WAAN * 2 (History killer Alien-ish sharp knife edge Sufi Rwak croon that give jazba n make the listener totally feel it) from 1.00 to 1.18, doing what he does best and something that no body on the planet can imitate or emulate. This looks like a portion straight out of one of the songs of@ Da Edge as the croons have an International Western influence, flavor n touch. Its Himesh crooning the way like he’s never been heard crooning anything like this before, which makes it so novel n path breaking.

Between mukhda & 1st stanza, the funky trumpet theme piece returns from 1.19 to 1.28

1st stanza

The composition pattern is free flowing and feel good.

Sanam’s feel good singing along with lyrics TU MERE DIL MEIN CHECK IN HO GAYI HAI, TV PE NEWS BREAKING HO GAYI HAI are youth appealing.

Shalmali’s line, DON’T YOU BREAK MY HEART (passionate feel) from 1.56 to 1.58 is sung with flair n attitude, followed by line, TERI MERI RA-AA-AA-AT (awesome quick twists) from 1.58 to 2.03 along with Off-da-hook reverse CD spin effect and wicked cult bazz sound.

Himesh is back with his Historic killer Alienish OO-WOON-OO-WOON-OO-WOON-WAAN WAAN WAAN * 2 from  2.03 to 2.12 for the finishing effect, along with constant underlying vibrant metal guitar that helps in building up jazba.

Between 1st & 2nd stanza, a short combo of likeable peppy tune and likeable modern harmonium plays from 2.13 to 2.21

2nd stanza

The composition pattern is free flowing and feel good.

Sanam’s feel good singing along with lyrics BABY U KNOW HOW IM SO HUNG ON U are youth appealing.

Shalmali’s line, DON’T YOU BREAK MY HEART (passionate feel) from 2.43 to 2.51 is sung with flair n attitude, followed by line, TERI MERI RA-AA-AA-AT (awesome quick twists) from 2.52 to 2.56 along with Off-da-hook reverse CD spin effect and wicked cult bazz sound.

Himesh is back with his Historic killer Alienish croons OO-WOON-OO-WOON-OO-WOON-WAAN WAAN WAAN * 2 from  2.57 to 3.15 for the finishing effect, along with constant underlying vibrant metal guitar that helps in building up jazba.

The song ends with the funky trumpet theme piece.

Highlights of this song:

1. Himesh Reshammiya’s Historic killer Alienish croons in a never before heard avatar.

2. Sanam Puri’s feel good vocals and Shamali Kholgade’s feel good vocals with style and flair.

3. Underlying trendy RnB Hip Hop beat.

4. Off-da-hook reverse CD spin effect and wicked cult bazz sound as if a RollsRoyce engine races on.

5. Groovy piece at start, funky trumpet theme piece and underlying chime effect.

6. Short combo of likeable peppy tune and likeable modern harmonium in between 2nd stanza gap.

{tabs Hum Pagal Nahi Hain}

The song begins with Arabian guitar riffs, joined in by grand band baaja baaraat trumpet fan fare tune and vocal adlip until 0.24

The vocal adlip along with Himesh’s mukhda lines from  to 0.36 gives great rhythmic build up.

The mukhda is catchy and well structured.

Himesh’s line, HUM PAGAL NAHI HAI BHAIYA (awesome sooth feel) from 0.37 to 0.40 in semi plugged mode is the build up part followed by quick repetitive drum hits from 0.43 to 0.45 that gives kick.

Mast Tapori ishtyled rhythmic beats kicks in from 0.46 onwards.

Awesome hilarious n amusing mukhda lyrics, HUM PAGAL NAHI HAI BHAIYA, HAMARA DIMAAG KHARAAB HAI.

Himesh’s line, DIMAAG (awesome high pitch note) at 0.51, HAI (awesome middle octave impact) at 0.45, 0.53 & 1.22

Heavy drum hits from 1.06 to 1.12 give great build up, followed by quick repetitive drum hits from 1.12 to 1.14 that gives kick.

Between mukhda & 1st stanza, grand band baaja baaraat trumpet fan fare tune piece plays from 1.23 to 1.39 followed by scary deep male croons and wicked raga tune from 1.40 to 1.46 as if the listener is in a Tantric’s shrine where the Tantric is meditating.

1st stanza

The composition pattern is catchy and well structured.

The way the underlying beat kicks in from 1.46 onwards is awesome and kick starts the stanza.

Himesh goes super high pitch from 2.04 to 2.16

Hilarious lyrics, TUJHE MILKE MERE UJRE CHAMAN MEIN KHIL GAYA GULAB HAI.

Between 1st & 2nd stanza, the guitar riffs and vocals effect YEAH from 2.34 to 2.43 is as if the listener is swirling around in a state of dizziness, jaise koh beech bhawar mein hickole kha raha hai, followed by grand band baaja baaraat trumpet fan fare tune piece from 2.43 to 2.59

2nd stanza

The composition pattern is catchy and well structured.

The way the underlying beat kicks in from 2.59 onwards is awesome and kick starts the stanza.

Great rhyming lyrics, OSAMA YA OBAMA, HOGA VASKODIGAMA.

Hilarious lyrics, DALI PE PHOOL NAHI YEH MERI BHOOL NAHI.

Himesh goes super high pitch from 3.17 to 3.29

Hilarious lyrics, YAHAAN REHKE MERA BHI HOGAYA DIMAG YEH KHARAB HAI

Himesh surprises the listeners and make them laugh by the way he sings the mukhda hook line HUM PAGAL NAHI HAI BHAIYA HAMALA DIMAAG KHALAAB HAI from 4.00 to 4.16 that are casually sung with mad-cap emphasis, hats off for doing full justice since the singing style resembles how an insane person out of his senses would actually sing in that scenario, and it very difficult to sing in this manner n tone.

Himesh’s line, HAAI (awesome middle octave impact) at 4.07 & 4.16

The song ends with grand band baaja baaraat trumpet fan fare tune piece.

Highlights of this song:

1. Himesh’s vocals that win over the listener.

2. Underlying mast tapori ishtyled beats.

3. Grand band baaja baaraat trumpet fan fare tune piece, Arabian guitar riffs and rhythmic vocal adlip at start, quick repetitive drum hits that give kick.

4. Scary deep male croons and wicked raga tune guitar riffs in between 1st stanza gap, and vocals effect YEAH in between 2nd stanza gap.

5. Interesting lyrics.

{tabs Khol De Dil Ki Khidki}

The song begins with a combo of Tom N Jerry styled guitar riffs, funky mischievious female voice OH YEAH and hilarious bazz string riffs that makes the listener laugh.

A vibrant Techno theme piece along with quick intermittent Arabian keys from 0.15 to 0.30 builds up the song.

The underlying beat pattern comprising of light bongo hits from 0.15 onwards gives good rhythm.

Mika Singh is the perfect choice and he is doing what he does best, singing in his vintage trademark feel good style.

Mika's line, HOOO (off-da-hook short alaap) at 0.28 & 0.39, BAS TUJHKO KI (off-da-hook happy-go-lucky feel good vocals, trademark Mika) from 0.44 to 0.45 & 1.10 to 1.11

His feel good vocals from 0.29 to 0.49 build up the mukhda, with emphasis on line, MORE-EEEEE (off-da-hook prolonged twist) from 0.34 to 0.35 & 0.45 to 0.46

The best melody of song is in his line, KHOL DE DIL KHIDKI (off-da-hook bindaas feel good  singing) from 0.49 to 0.51 & 0.58 to 1.03

The catchy mukhda hook line, KHOL DE DIL KI KHIDKI, KHOL DE DIL KA DOOR-OOR-OOR-OOR with heavy drum hit pattern wins over the listener.

The heavy drum hit pattern along with the well structured mukhda hook line, KHOL DE DIL KI KHIDKI, KHOL DE DIL KA DOOR (interesting pedestrian lyrics any common youngster can relate to) give great accompanying effect, followed by a peppy tune that gives the ‘completeness effect’ to the mukhda hook.

Between mukhda & 1st stanza, the combo of Tom N Jerry styled guitar riffs, funky mischievious female voice OH YEAH and hilarious bazz string riffs returns.

1st stanza

Palak sings the free flowing well structured stanza lines from 1.41 to 1.56 with feel good vocals.

Palak's line, TERI (awesome high pitch) at 1.57 & 1.59

Palak’s line, BATEIN NA (pre ABA twist) from 2.02 to 2.03

Mika enjoys his stint behind the Mike with his casual bindaas feel good vocals from 2.04 to 2.07 in unplugged mode along with heavy repetitive hit pattern that gives great accompanying effect.

Between 1st & 2nd stanza, a peppy Baaja tune piece along with underlying vibrant metal guitar from 2.30 to 2.38 is followed by vibrant Techno tune along with quick intermittent Arabian keys from 2.38 to 2.53

2nd stanza

Palak sings the free flowing well structured stanza lines from 2.53 to 3.08 with feel good vocals.

Palak's line, PARIYON KI (awesome high pitch) at 3.09, MUJHKO (awesome high pitch) at 3.11

Palak’s line, TU HAI DEFINITE (pre ABA twist) from 3.14 to 3.15

Mika enjoys his stint behind the Mike with his casual bindaas feel good vocals from 3.16 to 3.19 in unplugged mode along with heavy repetitive hit patternthat gives great accompanying effect.

Hilarious lyrics, PYAAR KE POPHU BAJ GAYE SAARE.

The song ends with combo of Tom N Jerry styled guitar riffs, funky female voice OH YEAH and hilarious bazz string riffs that’s makes the listener laugh.

Highlights of this song:

1. Mika Singh’s bindaas casual feel good vocals.

2. Palak Mucchal’s feel good vocals.

3. The underlying beat pattern comprising of light bongo hits.

4. Vibrant Techno theme piece along with quick intermittent Arabian keys.

5. combo of Tom N Jerry styled guitar riffs, funky mischievious female voice OH YEAH and hilarious string riffs.

{tabs My Picks}

1. Barbaat Raat n Khol De Dil Ki Khidki [tie]

Barbaat Raat

In actuality this song belongs to Sanam Puri and Shalmali Kholgade, but is Himesh who steals the show with his Historic Alienish killer croons. Usually it is the case that an accompanying vocals/croons are for lending backup support to the main lead singers, but here in this case it is opposite n other way around vice versa, coz it is Sanam n Shalmali that do the build up part, and Himesh delivers the main killer punch. For example, if Himesh’s croons are removed from the song then it would fall into the ‘decent’ category, but his presence takes the song to another level. Its like once the listsner has heard his croons for the first time, they are waiting for them again in the remainder of the song in their respective portions.

It is a trendsetting song that will konnekt with and appeal to the youngsters, coz it has all the ingredients  n flavor, whether it’s the orchestration/beats, lyrics or the singing.

Khol De Dil Ki Khidki

It is a likeable peppy foot tapping feel good club song that falls in the zone of pre ABA club songs like Rain Rain, Imli Imli and if made in those days it would ideally be sung by Shaan or KK, but in today’s times Mika is the preferred choice for Himesh. He is perfect for the song and does what he does best. Nobody could have sung the song better than him. The listener finds his singing adorable. The catchy mukhda hook line, Khol De Dil Ki Khidki, Khol De Dil Ka Door-Oor-Oor-Oor with heavy drum hit pattern wins over the listener, and it is the best melody of the song. Quirky lyrics are apt. This song is tailormade for Mika Singh and he is in his full form n element. No other male singer could have sung it better than him. It is very refreshing to hear him in this song. After listening to his voice in this song, the listener can be bound to develop a newfound respect n regard for him. It is the best song till date of Himesh - Mika jodi combo. The listener would perhaps have never been so happy or have an fun ride and enjoyable time listening to a Himesh song in recent times as this one, and so its a big thumbs up for this winner song.

2. Hum Pagal Nahi Hai Bhaiya

The song is well structured and catchy, especially in the mukhda. Himesh – the singer wins over the listener and shows his versatility towards the end with deliberate madcap vocals that do justice to this song’s theme. This song is better and catchier than Goli Maare Tera Dupatta from Kyun Ki, which was in the same Pagalpanti genre.

3. Caller Tune

Though not the catchiest, but the tune gets on the listeners lips, is very hummable and gets the listener into a light foot tapping groove. This sounds more like a Pritam song rather than a Himesh Reshammiya song.

4. Piya Ke Bazaar Mein n Look Into My Eyes [tie]

Piya Ke Bazaar Mein

Off late in past few years, Himesh has got an infatuation for these Desi styled interior tapori numbers like Aaya Re Aaya Bodyguard, Go Go Govinda, Chalao Na Naino Se, Jaave Saari Raat, and the trend continues with this song. The song has a predictable stereotype déjà-vu feel.

Look Into My Eyes

It is an upbeat Urbane Electronic Club number that the youths would like to groove to. The sound is not representative of Himesh’s style. It is a novel attempt by him in terms of composition pattern / structure n instrumental / vocal effects.

{tabs Verdict}

Composition

Best melody in:

> Mukhda of Hum Pagal Nahi Hai Bhaiya which is catchy.

> The tune of Himesh’s croon in Barbaat Raat.

> The tune of Mika’s mukhda line, KHOL DE DIL KI KHIDKI, KHOLDE DIL KA DOOR.

Orchestration

Some comic instruments n vocals that do justice to the Comedy genre of this film:

> Combo of Tom N Jerry styled guitar riffs, funky mischievous female voice OH YEAH and hilarious bazz string riffs at start, in between 1st stanza gap and at end that makes the listener break into laughter in Khol De Dil Ki Khidki. It is the funniest instrumental piece in the album.

> Himesh's mukhda hook lines towards the end in Hum Pagal Nahi Hai Bhaiya.

> The funky trumpet theme piece in Barbaad Raat.

> The funky trumpet theme piece with hilarious end twist in Barbaat Raat.

The orchestration is kept trendy, foot tapping, peppy n rhythmic.

> Trendy Hip Hop RnB beat in Barbaat Raat

> Mast tapori ishtyled rhythmic beats in Hum Pagal Nahi Hai Bhaiya and Piya Ke Bazaar Mein.

> Foot tapping beats in Caller Tune and Khol De Dil Ki Khidki.

Off-da-hook intermittent instrumental effects:

> Off-da-hook reverse CD spin effect and wicked cult bazz sound in Barbaat Raat.

> Off-da-hook splatter whoosh effect that pans across left n right, followed by off-da-hook guitar riff in Caller Tune.

Techno / Electro:

> Vibrant Techno theme piece in Khol De Dil Ki Khidki.

> Live wire electro beat in Just Look Into My Eyes.

> Techno bazz riffs in underlying beat of Caller Tune.

Also, there are well structured instrumental theme pieces.

Singing

> Himesh’s hits a sixer with his Historic Alien-ish killer croons OO-WOON-OO-WOON-OO-WOON-WAAN WAAN WAAN * 2 in Barbaat Raat

> Himesh wins over the listener in Hum Pagal Nahi Hai Bhaiya. Also, the way he has sung the ending lines HUM PAGAL NAHI HAI BHAIYA, HAMALA DIMAG KHALAAB HAI is very difficult to sing as it puts a lot of vocal stress to sing that way. The listeners will be interested and curious to know actually how he managed to sing this way.

> Other choice n selection of singers is apt i.e. Mika Singh is perfect for Khol De Dil Ki Khidki, Neeraj Shreedhar is perfect for Caller Tune, and Sanam Puri / Shalmali Kholgade is perfect for Barbaad Raat. Neeti Mohan sings with whole hearted croons with style, attitude n flair.

> It is great that Himesh - the singer has not restricted his singing to only his own films in which he stars, which is good news as his voice can be expected to be heard in future upcoming projects he signed as a composer.

Lyrics

> The album has youth centric Hin-glish lyrics with a mix of Hindi n English.

> Hilarious lyrics, PYAAR KE POPHU BAJ GAYE SAARE in Khol De Dil Ki Khidki.

> Awesome hilarious n amusing mukhda lyrics, HUM PAGAL NAHI HAI BHAIYA, HAMARA DIMAAG KHARAAB HAI, Great rhyming lyrics, OSAMA YA OBAMA, HOGA VASKODIGAMA, Hilarious lyrics, TUJHE MILKE MERE UJRE CHAMAN MEIN KHIL GAYA GULAB HAI n YAHAAN REHKE MERA BHI HOGAYA DIMAG YEH KHARAB HAI, DALI PE PHOOL NAHI YEH MERI BHOOL NAHI in Hum Pagal Nahi Hai Bhaiya.

> Youth appealing lyrics, TU MERE DIL MEIN CHECK IN HO GAYI HAI, TV PE NEWS BREAKING HO GAYI HAI n BABY U KNOW HOW IM SO HUNG ON U in Barbaat Raat.

Conclusion

Two songs are club based i.e. Kholde Dil Ki Khidki n Just Look Into My Eyes. One song is Hip Hop RnB whereby Himesh shows yet another facet of his compositional style to sync with todays trend i.e. Barbaat Raat. Two songs are massy i.e. Piya Ke Bazaar Mein and Hum Pagal Nahi Hai Bhaiya, the latter which is a justified theme song in context to the mad cap characters. Two songs do not sound from the Himesh Reshammiya stable i.e. Just Look Into My Eyes and Caller Tune. Interestingly, there are no remixes and this would be after quite a long time that a Himesh Reshammiya album doesn't have any remixes.

All in all, it’s a well balanced album whereby the mood is kept peppy, fun, lighthearted n jovial along with some comical elements. The songs would appeal to the youth and masses.

{/tabs}

 

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