Damadamm

The song begins with Ghulam Amin Khan’s vocals, with emphasis on lines ANNNNNN (quick profound classical emphasis twist) – DAR from 0.11 to 0.13, KHUB (emphasis vocals) at 0.14, along with an underlying retro bazz tune.

A quick folk tune pattern plays intermittently from 0.18 onwards followed by quick female classical chants from 0.32 to 0.39 builds up the song.

Himesh sings with innocent feel vocals on catchy lines SAATH SAMUNDAR DOOB JAAYEIN (OFF-DA-HOOK catchy melody) from 0.39 to 0.46 & 1.46 to 1.53

The vibrant energetic male croons DAMADAMM * 2 from 0.49 to 0.53, 1.16 to 1.20 & 1.55 to 1.59 along with a groovy retro tune are the BUILD UP part.

Himesh’s MIDDLE OCTAVE lines, DAMADAM MASTI * 4 (awesome 4 step descending vocals) from 0.53 to 0.55 along with OFF-DA-HOOK quick tabla hit pattern that gives KICK / SAHI DESIRED EFFECT, followed by his line KALAN – DAR (intense emphasis quick up twist) at 1.00 which gives completeness effect to overall tune.

The KILL effect is delivered by Himesh’s additional OFF-DA-HOOK fulltu high-pitched vocals from 1.01 to 1.08, 1.21 to 1.28 & 1.59 to 2.14 along with continuous underlying harmonium tune which gives background sur.

The song enters into classical bandish mode with Vineet’s subtle feel vocals from 1.08 to 1.16, with emphasis on line NAINA THARE (OFF-DA-HOOK halke se feel) from 1.13 to 1.14

The lyrics, DUNIYA THAG LETI HAI PUNJI from 1.28 to 1.30 & 1.32 to 1.34 are LOL, followed by a quick well-structured descending harmonium piece from 1.30 to 1.32

Himesh’s subtle feel lines, TERE NAINO NE MERE NAINO KO (terrific rising composition tune) from 1.34 to 1.36, followed by Himesh’s line, THAG – LIYA (OFF-DA-HOOK halke se feel) from 1.37 to 1.38 that gives completeness effect to overall tune.

Heavy synthetic guitar riffs makes its presence felt from 1.38 to 1.45

Between mukhda & 1st stanza, the quick female classical chants are back from 2.15 to 2.22, with emphasis on terrific feel twist AAAA (computerized echo effect) from 2.18 to 2.20

1st stanza

The catchy female vocals with nazal touch and echo effect from 2.22 to 2.39 are representative of Umrao Jaan theme setting where the ‘nachaniya’ is engaging da on-lookers inside the tambu.

Himesh’s middle octave vocals along with profound synthetic riffs from 2.39 to 2.55 are a reply to her incentives.

Vineet’s line, DHAAAR SE (awesome high-pitched classical twist alaap) from 2.59 to 3.01

Himesh’s line, VAAR SE (awesome halke se feel) from 3.11 to 3.13

The intermittent groovy ambient tune from 3.15 to 3.19 gives key effect to vocals.

Between 1st stanza and 2nd stanza, a harmonium piece plays.

2nd stanza

The catchy female vocals with nazal touch and echo effect from 3.53 to 4.10 are representative of Umrao Jaan theme setting where the ‘nachaniya’ is engaging da on-lookers inside the tambu, along with an OFF-DA-HOOK quick groovy wicked fluctuating tone which is CATCHY in overall context whereby song becomes RWAKIN.

Himesh’s middle octave vocals along with profound synthetic riffs from 4.10 to 4.25 are a reply to her incentives.

Vineet’s line, DHAAAR SE (awesome high-pitched classical twist alaap) from 4.30 to 4.32

Himesh’s line, VAAR SE (awesome halke se feel) from 4.42 to 4.42

The intermittent groovy ambient tune from 4.46 to 4.50 gives key effect to vocals.

Himesh plays with da listeners pulse from 5.06 to 5.08 by abrupt sudden halt in line MAST quickly followed by line SAATH SAMUNDAR in unplugged mode along with off-da-hook fast-paced tabla beats that give intermittent kick.

The song ends on a RWAKIN note and gives JAZBA to da listener with additional high-pitched continuous vocal alaap from 5.36 onwards in addition to Himesh’s OFF-DA-HOOK fulltu high-pitched core mukhda tag lines.

Highlights of this song:

1. Himesh’s combo of middle octave vocals (for build up part) and off-da-hook fulltu high-pitched vocals (for kill effect).

2. Underlying music arrangement which is FULL ON.

3. Underlying retro bazz tune at start, off-da-hook fast paced tabla beats that give sahi desired effect / intermittent kick, and off-da-hook catchy quick groovy wicked fluctuating tone in 2nd stanza.

4. Quick female classical chants, Vineet’s classical feel vocals / alaaps, harmonium piece, profound synth guitar riffs, catchy female vocals with nazal touch and echo effect in stanzas.

Waah, Himesh n co…kya mehfil sajai hai aur kya sama baandha hai!

The only hinderance in this song is its DEJA-VU core mukhda tag lyrics DAMADAMM MAST KALANDAR that are heard umpteen times before.

Umrao Jaan

The song begins with Purbi Joshi’s vocals trying to explain to thurkey log, with emphasis on her line ONLY (voice cracks up due to over emphasis) from 0.06 to 0.07, kya thurkey logon ne aaj tak kisi ki bhi baat maani hai?!

The Punjabi theme instrument piece that plays from 0.11 onwards is joined in by peppy drum skips from 0.16 onwards and underlying bazz sound from 0.21 onwards.

The beat from 0.26 onwards has a HARD and SHARP hit pattern.

Himesh’s sings with catchy middle octave vocals, with emphasis on line NAZRE (well pronounced and sung) at 0.51 to 0.52 & 0.56 to 0.57

Purbi Joshi’s English lines are da core mukhda tag lines that give completeness effect to Himesh’s lines in overall context.

The profound heavy drum-roll hits from 0.18 to 0.19 & 1.50 to 1.51 give TREMENDOUS KICK.

1st stanza

Himesh’s OFF-DA-HOOK middle vocals from 1.57 to 2.12 are quite catchy and strike a chord (BEST MELODY in the song) along with underlying heavy rhythmic beats get da listeners into da zone whereby song becomes RWAKIN.

Purbi’s lines, NO NO I NO TAKE from 2.12 to 2.14 are naughtily cheeky.

2nd stanza

Himesh’s OFF-DA-HOOK middle vocals 2.59 to 3.15 are quite catchy and strike a chord (BEST MELODY in the song) along with underlying heavy rhythmic beats get da listeners into da zone whereby song becomes RWAKIN.

Purbi’s lines, NO NO I NO TAKE from 3.14 to 3.16 are naughtily cheeky.

Purbi’s lines, SEEING (pronounced like an overtly pampered gal with full of nakhre) from 4.04 to 4.05

Highlights of this song:

1. Himesh’s catchy middle octave vocals and Purbi Joshi’s emphasis vocals.

2. The Punjabi instrument theme piece, bazz sound at start, peppy drum skips and quick profound heavy drum-roll hits.

In terms of orchestration, this song alternates between the following i.e. the BUILD UP PART with peppy drum skips followed by the KILL effect with quick profound heavy drum-roll hits followed by underlying SHARP/HARD rhythmic hit pattern.

The only hinderance is this song is its slower tempo in the build up part (however the remix covers up for this fact) and Purbi Joshi’s ‘over-da-top’ vocals (which are actually quite an integral part/fundamental core tag lines of song) especially at da end that may not appeal to every listener and meet with a mixed response from aam junta.

Aaja Ve

The song begins with a catchy cult bazz guitar theme piece that is used intermittently throughout the song (that gets da listener into da zone).

The underlying beat is comprised of  a combo of 2 elements i.e. a free flowing Waltz hit pattern that gives kick, which was similarly used in TERI MERI PREM KAHANI from BODYGUARD, and a laidback THUMP hit pattern.

The song has an underlying continuous fluctuating groovy ambient tune which gives terrific scale to it.

Himesh sings with high-pitched ‘straight’ vocals without his usual ‘prolonged twists-n-turns’.

The catchy male vocals HO HO HO represent the gen X and throw across a lot of attitude, and give completeness effect to Himesh’s lines.

Himesh’s line, JAANIYA (twist) from 0.53 to 0.54 is similar to his line JAANIYA (twist) from 1.27 to 1.29 in MOHABBAT KI from AKSAR.

Between mukhda & 1st stanza, the catchy cult bazz guitar theme piece is back

1st stanza

The composition pattern is well structured i.e. Himesh’s lines, ZINDAGI CHAAR PAL (normal note) BEET YEH JAAYE NA (normal note) WAQT YEH LAUT KE (higher note, key overall melody impact) PHIR KABHI AAYE NA (normal note) from 1.14 to 1.25

Himesh’s line, NAIYO LAGDA VE (awesome desperation emphasis plea) from 1.32 to 1.33

Between 1st & 2nd stanza, the catchy cult bazz guitar theme piece is back along with catchy male vocals HO HO HO. Himesh’s line, (awesome high pitched desperation plea vocals) from 1.53 to 1.55

2nd stanza

The composition pattern is well structured i.e. IK NAZAR MEIN (awesome sooth feel) TERI TUJHPE HO MAR MITE (normal note) AB SAZA DO NA TUM (higher note gives key overall melody impact) TOD DO FAASLE (normal note) from 2.00 to 2.10

Highlights of this song:

1. Himesh’s high-pitched ‘straight’ singing with desperation plea vocals.

2. The underlying beat comprised of free flowing Waltz beat pattern and thump hit effect.

3. The underlying continuous fluctuating groovy ambient tune sur.

4. Cult catchy bazz guitar theme piece and catchy male vocals with attitude.

This song is representative of the trend-setting new-age sound associated with popular foreign NRI pop artistes.

To sum up, it is a ‘simple well structured catchy’ song.

It should be an instant hit amongst listeners, and sure shot chartbuster amongst Punjabi segment base.

Madhushala

The song begins with a piano pattern that would want to make a couple sway from side to side on salsa moves.

The female vocals belts out some seductive feel vocals to set the mood in, with emphasis on her romantic SISKIYAAN from 0.06 to 0.07 and lyrics like ISHQ UNPLUGGED thus reminding da listeners what da original name of da film was.

The song makes a sudden abrupt U-turn from 0.40 onwards and visits, re-lives and pays homage to da lost era of 50-60’s aur un purani yaadon / lamhon ko taaza kiya hai...just like other Himesh songs like AFSANA BAN GAYA HOON from AAP KI KHATIR courtesy due to the old styled female computerized nazal lines from start & 0.08, 0.30 to 0.33, old age harmonium piece from 1.39 to 1.46 and old-age lyrics like AFSANA, and TUNE MERA CHAIN VAIN from ANTHONY KAUN HAI courtesy due to the old age harmonium theme piece from 0.18 to 0.38 and old age lyrics like OH BALMA.

Himesh’s line, KHUSBU (down town interior pronunciation) at 0.42, MADHUSALA (down town interior pronunciation) at 0.46, along with underlying harmonium piece.

Himesh’s lines, KABHI AAR GAYA KABHI PAR GAYA (deliberate forceful nazal twang) from 0.49 to 1.03 & 1.26 to 1.41

The old styled rhythmic beat from 1.19 onwards would make the dada’s and dadi’s to jhoom barabar jhoom in their evergreen traditional oldern styled zamana ways.

Himesh goes fulltu high-pitched in core mukhda tag lines MADHUSHALA MEIN from 1.04 to 1.18 & 1.41 to 1.56 along with FULL ON underlying orchestration that gets heavy upon da listener.

Himesh’s line, MEIN (trademark sufi rwak slogan leave) from was used in line SAARE RAASHE HAIN (trademark sufi rwak slogan leave) from 2.19 to 2.20 in VEERIYAAN from NAMASTE LONDON

Between mukhda & 1st stanza, a dada ke zamane ka purana harmonium piece plays (wonder how they even managed to get such an instrument in new-age generation sound).

Between 1st & 2nd stanza, quick profound heavy drum skips along with full on additional intermittent male croons from 3.15 to 3.20 followed by old styled rhythmic beats and old harmonium piece from 3.21 to 3.28

1st stanza & 2nd stanza

Aditi sings in nazal tone (along with underlying continuous harmonium in semi-plugged mode) in da same way, whereby upon da query of a yesteryear hero  “priye pankhuri, tum kahan ja rahi ho? Would meet a reply…”bageche ke peeche swami, saath chaloge kya!”

Himesh’s middle octave subtle feel lines on a simple well structured tune from 2.30 to 2.43 & 3.48 to 4.01 along with quick peppy drum skips, with

Himesh’s line, MADHUSHALA MEIIN (OFF-DA-HOOK twist) from 2.50 to 2.51 & 4.07 to 4.08 which are his BEST VOCALS in this song.

The tempo and mood of song abruptly changes again from 4.31 onwards with re-entry of swaying piano pattern whereby da separate couple swaying away in ecstasy, lost in their own world and dancing like a goat to themselves suddenly find themselves looking for their counterpart.

Highlights of this song:

1. Himesh’s deliberate forceful nazal twang vocals and Aditi’s nazal touch.

2. The rhythmic swaying piano pattern along with female seductive feel croons.

3. Old styled harmonium piece and old styled underlying rhythmic beats.

The tune of this song is rather plain and simple which is craftily molded/incorporated into and with oldern styled orchestration and vocals [nazal] so that its effectiveness in terms of impact increases manifolds.

But ideally this song is meant for Himesh to take a dig and pot shots at critics of his uber rwakin nazal twang, by deliberation and intent (rather than otherwise unintentionally caused by default) and tell them that nazal tone rulez i.e.

Critic: [points finger with a grimed face] Your voice is nazal.

Himesh: No, it’s high-pitched that’s why.

Critic: No, but still…

Himesh: [steps forward broad-chested in intimidation] Yes, its nazal and it has given me hell lot of fame and recognition, kya hai?

Critic: [backs off, looks down and breaks into a submissive smile] kuch khaas nahi, who toh bas aise yun hi pooch liya!

Himesh: Toh phir agar time paas khatam ho gaya ho to phir jaldi se phut le yahan se.

Yun Toh Mera Dil

The song begins with a repetitive catchy quick feel good guitar theme piece.

OFF-DA-HOOK deliberate feel good high-pitched croons WOOOUOOOW from 0.07 to 0.09 & 0.45 to 0.46 that get the feel good mood going are representative of the lover kicking his one leg with the other whilst jumping in da air as if life is good.

Himesh’s line, HMMMMM (waah kya sur pakda hai!) from 0.17 to 0.19

Himesh’s middle octave innocent feel lines along with underlying subtle guitar riffs and repetitive catchy feel good guitar piece from build up the song.

The lyrics of core mukhda tag lines YUN TOH MERA DIL MACHALTA NAHI AASANI SE are bubbly and chirpy.

The song’s graph takes off with Himesh’s catchy high-pitched lines from 0.36 to 0.41, LEKIN JABSE TUJHKO DEKHA DIL GAYA JAANE TUJHME KYA BAAT HAI (OFF-DA-HOOK singing) whereby he can’t resist in expressing his innermost feelings and desires.

OFF-DA-HOOK raw drum beats from 0.42 to 0.43 hit it da Caribbean kabana style.

The chillax easy going underlying beats from 0.48 onwards have a touch of Samba and Bossa Nova, producing a sound effect that is representative when two spoons hit or click each other.

The whoosh sound from 1.10 to 1.12 gives great kick-start to da stanza.

1st stanza

Himesh sings with innocent subtle feel middle octave vocals with masoomiyat on simple well structured catchy tune from 1.13 to 1.31 along with continuous groovy ambient tune that gives terrific sur in overall context.

Sadhna sargam’s melodious vocals from 1.51 to 2.08 strike a chord, have an emotional plea connect and give halke se feel (is gaane par chaar chand laga dete hain jaise ke sone par suhaga) depict that the more sensible mature heroine is fully aware of her lovers antics but still regardless is a fan of them.

The whoosh sound from 2.08 to 2.09 gives great kick-start to da stanza (and also to Himesh's lines).

2nd stanza

Himesh’s HISTORY desperation plea vocals on a simple catchy well structured tune from 2.10 to 2.19 connect with, win over the listener and leave them gutted.

Himesh’s laugh at 2.38 & 2.52 is mischievously cheeky.

The SHARP hit pattern from 2.27 onwards has a foot-tapping groove to it and brightens of da proceedings.

This is an ideal song on which Tom would love to spend some quality time and dance with his girlfriend like a cat on his beach party, and hope that Jerry won’t play da spoil sport with his typical antics (fun-intended).

Highlights of this song:

1. Himesh’s innocent feel vocals and veteran Sadhna Sargam’s melodious vocals.

2. Underlying Caribbean style beats with touch of Samba and Bossa Nova, off-da-hook raw drum hit pattern from 0.41 to 0.43, continuous groovy ambient tune sur in 1st stanza, whoosh sound effect befort start of stanzas and the sharp foot-tapping hit pattern from 2.28 onwards.

This song scores big time in terms of the overall feel good vibe created due to its music arrangement (which is enhanced by vocals) whereby da listener visualizes himself on a beach in a happy-go-lucky jovial mood at sunset / dusk.

It is a master piece by Himesh Reshammiya that can bring tears of joy to da listener due to da combo of innocent feel (mukhda & 1st stanza) and emotional connect (from Sadhna’s vocals 2nd stanza gap onwards).

The composition structure / pattern is INNOVATIVE with different tune in stanzas, and with ‘never before heard’ FRESH sound both in terms of orchestration and vocals.

It would be interesting to see its backdrop theme setting picturization in da film / promos where it should make even greater impact.

Hum Tum

In terms of composition pattern/structure and orchestration, this song has a new fresh take by Himesh as opposed to his usual trademark Sufi Rwak stuff.

The song begins with guitar riffs in unplugged mode followed by Vaishali’s soulful classical melodious croons from 0.08 to 0.21, with emphasis from 0.10 to 0.11 (off-da-hook quick classical twist) that catches da listener’s classical pulse.  

The underlying nostalgic beat from 0.14 onwards is laidback rhythmic free-flowing with a SHARP hit pattern which is representative of da sound produced when a HAMMER hits an ICE SLAB and the breakage produces an evaporation of REFRESHING BLAST OF MYSTIC VAPOUR. This effect was similarly used in underlying beat in MANN KA RADIO from 1.48 to 2.03

The WHITE NOISE in background from 0.24 to 0.27 is commendable.

Himesh starts on a very unusually rare low scale with his bazz octave vocals in his lines HUM TUM TRAIN KI DO PATRIYOON KI TARAH from 0.27 to 0.47 & 1.19 to 1.28, the fantastic lyrics which have a deep rooted meaning i.e. two railway tracks that endlessly accompany each other on the platform but since they are parallel to each other, they can never ever meet.

Himesh's lines, CHALTE RAHE SAATH SAATH MILNE KI TAMMANA MEIN from 0.47 to 0.53 & 1.28 to 1.34 have a soothing calming effect on the listener that takes them a state closer to meditation.

He enters the middle octave range from 0.47 & 1.29 onwards, with emphasis on lines DIL JAANTAAAA (prolonged sooth feel) MILENGEEEEEE (prolonged sooth feel).

The Siemens ring tone from 0.59 to 1.00 & 1.05 to 1.06 that was similarly used from 0.04 & 0.32 in SONIYE from AKSAR, in between 0.02 & 0.25, 4.10 & end in DIL NE YEH NA JAANA from RED - THE DARK SIDE, and from 4.59 to end in KUCH MEETHA HO JAAYE SONG, and at starting unplugged mode of AAWAN AAKHIYAAN from AHISTA AHISTA.

Himesh’s lines, JOH TOOTI NAHI – IIII (up down twist gives COMPLETENESS effect) from 1.05 to 1.07 & 1.46 to 1.48

The sound effect at 1.07, 1.28 & 1.49 is as if lava is flowing out of molten crust.

He enters the high pitched range from 1.08 onwards, with emphasis on lines MERI JAAN – AN – AN – AN (OFF-DA-HOOK deliberate high-pitched intense sooth feel vocals) from 1.09 to 1.13 & 1.51 to 1.55 along with continuous female haunt feel chorus that grow upon da listener from 1.14 to 1.15 & 1.56 to 1.57, followed by his highest note NNNN (HISTORY deliberate highest pitch intense soulful croon) from 1.15 to 1.18 & 1.57 to 1.58 that gives JAZBA to da listener.

The gradual build up of the mukhda’s graph in terms of lower notes to higher notes is commendably well thought of and well structured.

Between mukhda & 1st stanza, a bazz raga tune plays from 2.01 to 2.03 that is representative of the sound in Baba Ramdev’s shrine followed by Vaishali’s soulful classical croons from 2.03 to 2.17, along with underlying sublte laidback tabla hits that bring thehrav to proceedings.

1st stanza

Himesh sings with middle octave subtle innocent feel vocals 2.21 to 2.38 & 2.48 to 3.05 along with quick semi-plugged beats.

His lines, ZINDAGI from 2.21 to 2.22 & 2.48 to 2.50 is a touch inspired by line TUM NE from 2.09 to 2.11 in DAMADJI from RADIO.

The profound heavy drum skips kick in from 2.39 onwards along with catchy female croons enhance the sad mood setting of the song.

Himesh’s well-structured lines, ANKAHEE (high note) ANSUNEE (lower note) ANBUJHEE (lowest note) from 3.05 to 3.11 gives COMPLETENESS effect to his earlier preceding lines.

Vaishali’s INNOCENTLY CUTE sounding desperation plea twists (with echo effect) from 3.11 to 3.15 followed by OFF-DA-HOOK soulful classical PENETRATIVE croon from 3.15 to 3.17 gets melodiously heavy on da listener.

After the START-STOP gap from 3.18 to 3.19, the rather sudden start of Himesh’s mukhda lines along with underlying laidback beats makes it a very FREE FLOWING affair.

Between 1st & 2nd stanza, a high-pitched tune plays from 3.49 to 3.56 followed by feel good guitar piece from 3.57 to 4.03 that portray an imaginative visualization of slow-motion wide screen rotational camera angles from top, somewhere in the exotic locales of Arctic or The Alps.

2nd stanza

Himesh sings with middle octave subtle innocent feel vocals 4.03 to 4.21 & 4.31 to 4.48 along with quick semi-plugged beats.

The profound heavy drum skips kick in from 4.23 onwards along with catchy female croons enhance the sad mood setting of the song.

Himesh’s well structured lines, WHO RAASTE (high note) SILSILAY (lower note) MANZILEIN (lowest note) from 4.48 to 4.54 gives COMPLETENESS effect to his earlier preceding lines.

Vaishali’s INNOCENTLY CUTE sounding desperation plea twists (with echo effect) from 4.54 to 4.57 followed by OFF-DA-HOOK soulful classical PENETRATIVE croon from 4.58 to 5.00 gets melodiously heavy on da listener.

Once again Himesh showcases his innovative never before heard  high pitched range from 5.34 onwards, with emphasis on lines MERI JAAN – AN – AN – AN (OFF-DA-HOOK deliberate high-pitched sooth feel vocals) from 5.33 to 5.37 along with continuous female haunt feel chorus that grow upon da listener from 5.38 to 5.40

Highlights of this song:

1. Himesh’s subtle feel vocals which showcase his complete range in his new vocals/singing style, and Vaishali’s catchy soulful classical melodiously penetrating croons.

2. The underlying laidback rhythmic free-flowing beat with a SHARP hit pattern.

3. The feel good guitar theme piece used intermittently throughout, the white background noise, Siemens ring tone used intermittently throughout and profound heavy drum skips in stanzas.

This song has a sad mood which is about the lover remembering all the good times spent with his lover and is in anticipation that this feat would be possible yet all over again.

It will calm and relax the listener.

Tere Bina

It is a 'heart touching sad' song which has an 'emotional konnekt' in its audio visuals.

It begins with feel good guitar riffs with echo effect until 0.09

A subtle groovy oriental flute piece from 0.10 to 0.18 builds up the song.

The underlying beat that has a profound laidback raw drum hit pattern from 0.21 onwards is the instrumental USP of the song as it catches the listener’s pulse.

Himesh sings with innocent subtle feel middle vocals from 0.30 onwards.

The painful bazz raga tune plays from 0.38 to 0.40, 1.05 to 1.07 & 1.38 to 1.39 that was used for similar purpose from 2.05 to 2.19 in PIYA JAISE LADOO from RADIO, from 1.11 to 1.13 & 1.19 to 1.21 (only instrument) from TERA SUROOR from AAP KA SUROOR and from 1.15 to 1.23 in TERI MERI PREM KAHANI from BODYGUARD.

Terrific rising composition pattern in lines TU MERI YAAD MEIN – EE-NN from 1.00 to 1.05 & 1.32 to 1.27 which is the BUILD UP VOCAL part.

Himesh’s followes this up with VOCAL KILL EFFECT lines, TUJH SE HI (OFF-DA-HOOK fulltu high-pitch) from 1.07 to 1.09 & 1.40 to 1.41 to convey the desperation feel from the lover’s viewpoint.

Himesh’s line, SAANS (awesome halke se feel) at 1.19, AAH (terrific sooth feel) from 1.21 to 1.22

Between mukhda & 1st stanza, a likeable extended piano piece plays from 1.52 to 2.14

1st stanza

Himesh’s innocent feel middle octave lines from 2.17 to 2.26 & 2.37 to 2.46 are the ‘build up’ lines followed by his lines from 2.27 to 2.34 & 2.48 to 2.54 that give the ‘completeness effect’ in terms of the overall tune, with emphasis on his line MEIN YAHAAN – AAN – AAN (awesome 3 step twist) from 2.27 to 2.30 & 2.47 to 2.50 followed by TERE (awesome feel twist) BAGAIR from 2.31 to 2.32 & 2.51 to 2.53

Between mukhda & 1st stanza, a likeable tune piece plays with a well structured gradually rising pattern from 3.45 to 3.52 followed by haunt feel vocals from 3.52 to 3.54 along with underlying laidback rhythmic beats. A cute tune plays from 3.55 to 4.04

2nd stanza

Himesh’s innocent feel middle octave lines from 4.05 to 4.14 & 4.25 to 4.34 are the ‘build up’ lines followed by his lines from 4.15 to 4.22 & 4.35 to 4.42 that give the ‘completeness effect’ in terms of the overall tune, with emphasis on his line LE AAAA – AAA – AAA (awesome 3 step twist) from 4.15 to 4.18 & 4.35 to 4.37 followed by PHIR SE (awesome feel twist) WHO DIN from 4.18 to 4.19 & 4.38 to 4.39  

Himesh’s line, TERE BINA (awesome sooth feel) from 5.25 to 5.31

The song ends with majestic jingle chime sounds in unplugged mode.

Highlights of the song:

1. Himesh’s innocent subtle feel vocals.

2. The underlying profound laidback raw drum hit pattern.

3. Painful raga tune, subtle groovy oriental flute and majestic jingle chime sounds at end.

4. Likeable piano piece in between 1st stanza gap and well structured gradually rising tune pattern, haunt feel vocals and cute tune in 2nd stanza gap.

I Need My Space

This song goes down the same en-route like ROCKY – ROCK THE WORLD from ROCKY – THE REBEL in terms of the overall REBEL attitude, such that it could be called its version 2.

The song begins with beats representative of pots and pans along with an underlying bazz sound.

The bazz metal guitar kicks in from 0.07 onwards followed by random drum hit pattern from 0.12 to 0.14

The underlying rhythmic beats that give a FOOT TAPPING KICK from 0.15 onwards were similarly used in VA VA THAILAIVA from BOMMALATTAM, although its tempo in terms of hit pattern is faster here.

The funky guitar theme piece plays from 0.21 to 0.36 that was similarly used (only instrument not da exact pattern) from 3.23 to 3.37 in ROCKY ROCK THE WORLD from ROCKY - THE REBEL, followed by the bazz metal guitar from 0.37 to 0.43

Himesh sings with arrogant feel vocals from 0.48 to 0.58 & 1.24 to 1.38 and the loud feel good female croons from 0.59 to 1.04 & 1.39 to 1.45 further his cause, followed by random drum hit pattern.

The wicked guitar piece in between 1.27 & 1.39 adds to the rebellious intent.

Between mukhda & 1st stanza, the funky guitar theme piece is back again from 1.46 & 3.17 onwards, joined in by quick profound drum hits that keep getting gradually heavier from 1.57 to 2.01 & 3.29 to 3.32 (that were similarly used from 1.19 to 1.21 in KUCH TOH BAAKI HAI from MILENGE MILENGE) followed by loud feel good female croons from 2.00 to 2.08 & 3.31 to 3.39

1st & 2nd stanza

Himesh sings with subtle feel vocals from 2.17 to 2.31 & 3.49 to 4.02 on a simple repetitive three note descending tune pattern.

Himesh’s reverts back to his typical sufi rwak antics with high-pitched lines on a simple well structured tune, JIYA BEKARAAR HAI CHAAYI BAHAAR HAI MASTI KA KHUMAR MERE SAR PAR SAWAR HAI (sharp knife edge sufi rwak vocals) from 2.32 to 2.39 & 4.04 to 4.11 and BEST PART in the song.

The song ends with a prolonged cult rebellious metal rock guitar piece in unplugged mode from 4.57 onwards that was used for similar overall purpose and intent from 5.24 onwards in AAP KI KASHISH from AASHIQ BANAYA AAPNE.

Highlights of this song:

1. Himesh’s arrogant feel vocals in the core mukhda lines and sharp knife edge vocals in stanza lines (BEST vocals).

2. Underlying rhythmic sharp/hard hit pattern, random drum hit pattern used intermittently throughout, funky guitar theme piece also used in stanza gaps, quick profound heavy drum hits, wicked guitar piece and bazz metal rock guitar.

3. Loud female feel good croons.

This situational song is a ROCK affair that draws inferences from ROCKY ROCK THE WORLD and ULFAT (NANHE JAISELMER) in terms of arrogant feel vocals and orchestration.

Melody wise it is ordinary whereby main focus and attention is given to rhythm aspect.

Due to its vocals, it caters mainly to hard core fans and has a limited appeal to a wider listener segment base.

Mango

The song begins with a feel good catchy tune and Aditi’s which are representative of a late night musical opera show, along with underlying quick semi-plugged beats.

A cutting edge tune plays 0.22 to that was similarly used in MAHFOOZ from APNE.

Himesh’s middle octave BUILD UP lines, JAB TUM AATI HO (terrific sooth feel vocals) from 0.27 to 0.37 along with continuous heavenly majestic keyboard tone, with emphasis from 0.35 to 0.37 (terrific catchy rising pattern).

Himesh’s line, HO – OO – OO (OFF-DA-HOOK high-pitched sooth feel vocals) from 0.45 to 0.47, 1.03 to 1.05 & 1.32 to 1.35 that show yet another facet of his singing capabilities and prowress, whereby he showcases his high pitch range in his new Radio voice, are his BEST VOCALS in da song that do some serious damage repair in terms of his criitics / haters of his singing (as a singer, he is bound to be a winner all the way here by grabbing allocades and acknowledgement by all!).

Himesh delivers da KILL effect by OFF-DA-HOOK drum hit pattern that gets da song rolling from 0.57 to 0.59 that was similarly used from 1.22 to 1.25 in O JAANA LOVE U MISS U from ROCKY in terms of giving the sahi desired effect (not exactly the same pattern).

The song is in FULL FORM from 1.00 onwards with da arrival of CATCHY underlying RAFA DAFA (RADIO) styled rhythmic beats albeit with a harder hit pattern that SPINS IN A REPETITIVE LOOP and give a FOOT TAPPING KICK that gets da listener into da zone, along with guitar riffs.

The continuous gradually rising faint haunt tune from 1.05 to 1.10 & 1.35 to 1.40 in da background gives terrific sur in overall context, simply majestic! with emphasis from 1.08 to 1.11 which is incredibly catchy like hell.

Himesh’s lines, TERE INTEZAAR MEIN (OFF-DA-HOOK subtle feel singing) from 1.11 to 1.18

OFF-DA-HOOK cult wicked guitar riffs from 1.22 to 1.27 give the COMPLETENESS / KILL effect in overall context and suggest that while himesh may be easy going, accommodating and flexible with da lyrics, he is quite serious, spot / bang on and in no mood to mess around and compromise with the overall sound.

The mukhda in terms of orchestration and vocals has highly 'infectiously catchy' typical unique HR melody that hooks on to da listener.

Between mukhda & 1st stanza, Aditi’s whole hearted croons go all out full throated to fully express the moment of da occasion, with emphasis on her line MANGO (arrogant feel) from 1.43 to 1.44

1st stanza

Himesh sings with innocent feel vocals from 1.58 to 2.06 on a short n sweet tune, along with continuous keyboard tune and quick semi-plugged beats.

OFF-DA-HOOK drum hit pattern that gets da song rolling from 0.57 to 0.59 followed by catchy RAFA DAFA styled rhythmic beats.

Between 1st & 2nd stanza, Aditi’s whole hearted croons are back and go all out to fully express themselves from 2.21 to 2.35 followed by seductive feel lines from 2.41 to 2.51

2nd stanza

Himesh sings with innocent feel vocals from 2.52 to 3.01 on a short n sweet tune, along with continuous keyboard tune and quick semi-plugged beats.

OFF-DA-HOOK drum hit pattern that gets da song rolling from 3.02 to 3.05 followed by catchy RAFA DAFA styled rhythmic beats.

OFF-DA-HOOK wicked guitar riffs from 3.11 to 3.17 give the COMPLETENESS effect in overall context.

Himesh’s line, HO – OO – OO (OFF-DA-HOOK high-pitched sooth feel vocals) from 3.19 to 3.21

The song ends with whole hearted female opera croons.

Highlights of this song:

1. Himesh’s sooth feel vocals and Aditi’s whole hearted opera croons.

2. Underlying catchy rhythmic RAFA DAFA styled beats along with off-da-hook catchy wicked guitar riffs.

3. Off-da-hook drum hit pattern, continuous heavenly majestic keyboard tone at start and continuous gradually rising faint haunt tune from 1.05 to 1.10 & 1.35 to 1.40

Himesh takes inference from the musical arrangement of RAFA DAFA and elevates them several notches higher to an all together different level that sounds catchy. It could be coined as RAFA DAFA VERSION 2 in terms of orchestration.

One would have wished that the stanza portions would have been bit longer (like the usual length in other songs).

So how many Himesh fans like mangoes [fun-intended]? But on a serious note, this song is about ‘the lyric MANGO is non-comprehendo / meaningless in an overall context, but the sound is sure catchy as hell’

Due to the sheer compositional 'class and stature' of certain songs (like this one), they don't deserve certain type of lyrics that doesn't to full justice to their 'audio' appeal. Having said that, the only hinderance in da way of this song is that it is bound to receive ridicule and flak by some due to its mukhda lyrics. Such a masterpiece deserved better meaningful lyrics keeping in mind its audio appeal, but lyrics may suit a comical situation context of da film...as it should imply...I miss u like CRAZY...may be in da story they imply MANGO = CRAZY as there is tease going on amongst characters with names like Babu, Jaanu etc. Thus, there may be a situational context attached to it which da listeners would appreciate and come to terms with after watching the film.

If there isn't any situational context, then Himesh must be a really accomodating composer to 'never say no' to the works conceptualized by his lyricists in order to develop / maintain a good rapport and not to kill da their morale by blatantly objecting and asking them to re-modify da lines.

Having said that, he has been unlucky even in the past to meet with odd uncomprehendable lyrics in his master piece song KOLA LAKA VELLARI from WELCOME which was overlooked and sidelined due to this fact. It is hoped this song doesn't suffer da same fate and that it gets its full due (music was supposed to be beyond language barriers and what matters is that da overall sound sounds appealing / good), hope that da listeners think this way and don't mind the light-learted non-comprehendo lyrics.

To sum up, with better lyrics and extended stanzas (that could match da melody in mukhda), this song could have been many levels higher.

Bhool Jaun

The song begins with a catchy guitar piece in unplugged mode, joined in by another funky guitar piece from 0.08 to 0.16

Sachin gupta belts out some passionate feel vocals from 0.16 onwards along with quick beat skips.

The peppy guitar riffs along with additional female croons from 0.33 onwards build up da song.

OFF-DA-HOOK guitar riffs from 0.46 to 0.48 give COMPLETENESS effect and are BEST INSTRUMENTAL PIECE of da song.

The underlying rhythmic beats with a hard hit pattern that kick in from 0.48 onwards make it a foot-tapping affair.

Himesh’s high-pitched sharp knife vocals BHOOL JAUN from 1.05 to 1.19 strike a chord.

Between mukhda & 1st stanza, feel good vocals along with quick semi-plugged beats from 1.20 to 1.28 are joined in by laidback beat skip pattern from 1.29 to 1.35 that gives halke se kick.

More feel good vocals from 1.36 to 1.50 along with vibrant peppy guitar riffs.

The drum hit pattern from 1.50 to 1.52 gives intermittent effect.

Between 1st & 2nd stanza, catchy guitar riffs along with quick underlying drum hits from 2.25 to 2.38 are followed by OFF-DA-HOOK drum hit pattern from 2.38 to 2.40 that was used from 0.23 to 0.26 in WOH LAMHA from KAJRAARE.

Sachin sings with subtle feel vocals from 2.41 to 2.48 along with profound quick semi-plugged beats and additional female croons.

Laidback beat skip pattern joins in from 2.49 to 2.56

The peppy guitar riffs along with feel good vocals from 2.56 to 3.10 brighten up da proceedings further.

OFF-DA-HOOK catchy guitar riffs from 3.11 to 3.13 give COMPLETENESS effect and are BEST INSTRUMENTAL PIECE of da song.

The underlying peppy beat kicks in from 3.13 onwards to make da song a foot-tapping affair.

Catchy funky guitar plays from 3.15 to 3.17

The song enters into unplugged mode from 3.45 onwards along with pleasant likeable guitar riffs.

It ends with a profound guitar riff from 4.02 onwards producing a SUDDEN ABRUPT sound  as if da musician flicked the strings so hard that they came apart (along with REPETITIVE ECHO effect).

Highlights of this song:

1. Himesh’s high-pitched sharp knife vocals that strike a chord and Sachin Gupta’s combo of passionate feel and feel good vocals.

2. Underlying foot-tapping beats with hard hit pattern, laidback beat skip pattern and OFF-DA-HOOK drum hit pattern from 2.38 to 2.40

3. Catchy guitar riffs throughout the song, especially OFF-DA-HOOK from 0.46 to 0.48 & 3.11 to 3.13 give COMPLETENESS effect and are BEST INSTRUMENTAL PIECE of da song.

4. Additional feel good female croons.

The song has a very peppy, feel good and new-age generation sound that would appeal to the urban youth segment.

This ‘collaboration’ is an innovation of its kind and a totally unheard new concept which Himesh has pioneered and introduced in India.  

This song gives an open invitation, signal and message to other composers as in, himesh is crooning on another MD’s composition, and hence implying to others to follow suit that, ‘are you listening’ n ‘what are you waiting for’ to sign him on?

It is hoped that Himesh – the singer’s new innings results in him crooning all the top tunes of composers out there, and along with their success will also be the success of Himesh – the singer in terms of finding ‘universal acceptance’ i.e. if other so-called classy A-list composers do not mind Himesh crooning all their top tunes, then how can their fans object and not like their songs on this basis. So it would be ideally a ‘conquer all’ situation scenario for Himesh.

Also as da credit titles suggest, it is truly a ‘Himesh Feat’ as he yet again achieves another feat by turning into a lyricist and adding another achievement in his already overflowing list of various avatars.

To sum up, seeing Himesh and Sachin feature together gives an overall positive vibe and feeling.

My Picks

While each n every fan will have their own picks based on their listening preferences, here are mine. Also, if a song ranks lower it is not because it was not good but simply because the songs above it notched above / outscored it in certain aspects &/or overall context in totality.

In order to avoid comparing apples with oranges, rankings have been sub-divided into da following categories:

This album has:

Five songs that have trademark sound that one can expect out of HR stable i.e.

Three rhythmically catchy tracks which are USP of da album:

1. Aaja Ve & Damadamm (tie)

Damadamm

BEST MELODY in song is Himesh’s catchy lines SAATH SAMUNDAR DOOB JAAYEIN from 0.39 to 0.46, 1.46 to 1.53 (innocent feel vocals), Vineet’s line, NAINA THARE (OFF-DA-HOOK halke se feel) from 1.13 to 1.14, and Himesh’s subtle feel lines, TERE NAINO NE MERE NAINO KO (terrific rising composition tune) from 1.34 to 1.36, THAG – LIYA (OFF-DA-HOOK halke se feel) from 1.37 to 1.38 that gives completeness effect. Underlying orchestration is FULL ON. OFF-DA-HOOK fast-paced tabla beats give intermittent kick. The KILL effect is delivered by Himesh’s additional OFF-DA-HOOK fulltu high-pitched vocals from 1.01 to 1.08, 1.21 to 1.28 & 1.59 to 2.14 in addition to his middle octave vocals on da same core mukhda tag lines. The female vocals with nazal touch and echo effect from 2.22 to 2.39 & 3.53 to 4.10 are melodiously catchy. The song ends on a RWAKIN note with additional high-pitched continuous vocal alaap from 5.36 onwards.

Aaja Ve (a totally new attempt though, with new-age modern contemporary sensibilities)

A catchy cult bazz guitar theme piece is used intermittently throughout the song. The underlying beat is comprised of a combo of 2 elements i.e. a free flowing Waltz hit pattern and a laidback THUMP hit pattern. It has an underlying continuous fluctuating groovy ambient tune which gives terrific scale to it. The catchy male vocals HO HO HO throw across a lot of attitude and give completeness effect to Himesh’s lines. The composition is simple, well structured and catchy. Remix is cult stuff, especially the wicked guitar piece at beginning that plays intermittently throughout and the profound heavy bazz sound from 1.01 to 1.03, basically its music arrangement is fine tuned for typical GANGSTA antics by popular iconic pop artistes in da West and thus is bound to catch on with youths.

2. Umrao Jaan

The BUILD UP PART with peppy drum skips is followed by the KILL effect by quick profound heavy drum-roll hits that give kick followed by underlying SHARP/HARD rhythmic hit pattern. Purbi Joshi’s emphasis vocals give completeness effect to Himesh lines in overall context. BEST part of song is when Himesh comes into his Sufi Rwak element with his lines BAAVRE JIYA KI SAARI THARAK MITAADE, MERI TANHAAION KI DUNIYA SAJAADE (off-da-hook catchy sharp knife edge vocals) from 1.56 to 2.06 in 1st stanza, HOOSH MERA LOOTE TERI KHUSHBU TIMAAMI, RAAT DIN KARUNGA BAS TERI HI GHULAAMI (off-da-hook catchy sharp knife edge vocals) from 2.59 to 3.08 in 2nd stanza which strikes a chord n gets da listener into da zone, along with underlying heavy foot tapping beats whereby da song becomes rwakin.

There are similarities between this song and ZINDAGI JAISE EK RADIO from RADIO as both songs have an interior downtown Punjabi flavor which celebrates 'Punjab ki mitti ki khushboo', full on foot tapping energetic dhol beats, typical peppy Punjabi theme piece tune and female rap vocals, and both are slotted at no.2 in their respective albums.

Two situational tracks:

3. Madhushala & I need my space (tie)

Madhushala

This song which is themed on ‘daru ka adda and nachaniya’ revisits and pays homage to the old-age era of 50s and 60s whereby Himesh and female singer sing with a deliberate forced nazal twang along with harmonium of grandfather’s generation era. Himesh’s BEST VOCALS are his lines MADHUSHALA MEIIN (OFF-DA-HOOK twist) from 2.50 to 2.51 & 4.07 to 4.08. The oldern styled rhythmic beat from 1.19 onwards would make the dada’s and dadi’s to jhoom barabar jhoom in their evergreen traditional purane zamane ke andaz mein. The rhythmic swaying piano piece along with female seductive feel vocals at start and end is an extreme contrast.  Remixes should be doing rounds in clubs, especially the House Mix.

I need my space

It is a rock-ish affair in terms of orchestration. Underlying rhythmic beat that gives foot tapping kick has a hard/sharp hit pattern. BEST PART of song is Himesh’s lines in both stanzas, JIYA BEKARAAR HAI CHAAYI BAHAAR HAI MASTI KA KHUMAR MERE SAR PAR SAWAR HAI (sharp knife edge sufi rwak vocals) from 2.32 to 2.39 & 4.04 to 4.11

AND

Four experiments in genres with new change of sound domain which are TRUMP CARD / CHUPPA RUSTAM of da album:

1. Yun Toh Mera Dil

OFF-DA-HOOK deliberate feel good high-pitched croons WOOOUOOOW from 0.07 to 0.09 & 0.45 to 0.46. Underlying beats have a samba / bossa nova touch stamp. Himesh’s high-pitched lines, LEKIN JABSE TUJHKO DEKHA DIL GAYA JAANE TUJHME KYA BAAT HAI (OFF-DA-HOOK singing) from 0.36 to 0.41. OFF-DA-HOOK raw drum beats from 0.41 to 0.43 hit it da Caribbean kabana style. Himesh sings with innocent subtle feel vocals with maasoomiyat from 1.13 to 1.31 along with continuous groovy ambient tune that gives terrific sur. Veteran Sadhna Sargam’s melodious vocals from 1.51 to 2.08 strike a chord, have an emotional plea connect and give halke se feel. Himesh’s BEST LINES from 2.10 to 2.19 have history desperation plea vocals that connect with and win over the listener. The SHARP hit pattern from 2.28 onwards has a foot-tapping groove to it. This is an ideal song on which Tom would love to spend some quality time and dance with his girlfriend like a cat on their sunset beach party, and hope that Jerry won’t play da spoil sport with his typical antics (fun-intended).

2. Mango

The mukhda in terms of orchestration and vocals (pardon da lyrics) is infectiously catchy and hooks onto da listener . Himesh’s BUILD UP lines, JAB TUM AATI HO (terrific sooth feel vocals) from 0.27 to 0.37 along with continuous heavenly majestic keyboard tone. Himesh’s line, HO – OO – OO (OFF-DA-HOOK  sooth feel artificial high pitched / falsetto vocals) from 0.45 to 0.47. OFF-DA-HOOK drum hit pattern from 0.57 to 0.59 that gives sahi desired effect. Catchy underlying rhythmic beats from 1.00 onwards that SPIN IN A REPETITIVE LOOP and give a FOOT TAPPING KICK, along with guitar riffs. OFF-DA-HOOK cult wicked guitar riffs from 1.22 to 1.27 & 3.11 to 3.17 give the COMPLETENESS / KILL effect in overall context. Continuous gradually rising majestic faint haunt tune from 1.05 to 1.10 & 1.35 to 1.40 in da background gives terrific sur in overall context. This song should not be underestimated, take it lightly (due to its lyrics) at your own risk!

A song based upon late nite opera styled theme setting with foot tapping beats, off-da-hook guitar riffs and fulltu female croons. It is a fresh n innovative composition which shows the versatility of Himesh. Best part in song is Himesh's lines, LIKE MANGO OOO OOO...LIKE MANGO from 1.03 to 1.10 along with a constantly rising incredibly catchy faint tune in the background. 

The visuals of this song give a pleasant vibe as if life is good, will bring a smile on viewers face and pleasantly surprise them due to its unique unconventional concept. Chulbuli Purbiji's dance step when she sways sidewards in estacy from 1.28 to 1.48 are innocent cute. Himesh's dance step from 1.52 to 2.02 with the kid is cool. The white firangi women dance well from 2.31 to 2.48, and the big opera lady scares the hell out of Himesh and startles him from 2.44 to 3.01 by trying to seduce him. Purbiji looks naughty from 3.29 to 3.31 as she stops dancing and turns around to check why the mobile call ended. Himesh's facial expressions are sweet through the song, especially when he is singing in front of the mike with close up angle. The continuous faint rising tune from 1.31 to 1.34 is incredibly catchy. The audio visuals are cult, but in a sweet way (rather than a wicked way).

Himesh creates path breaking melodies and enters into fresh unexplored untapped genres in bollywood with these above two songs.

3. Hum Tum Train Ki & Tere Bina (tie)

Hum Tum Train Ki

Underlying laidback rhythmic free-flowing beat has a SHARP hit pattern. Himesh’s BEST LINES are MERI JAAN – AN – AN (OFF-DA-HOOK deliberate high-pitched sooth feel vocals) from 1.09 to 1.13 & 1.51 to 1.55 along with continuous female haunt feel chorus, followed by his highest note NNNN (HISTORY deliberate highest pitch soulful croon) from 1.15 to 1.18 & 1.57 to 1.58 that gives completeness effect. OFF-DA-HOOK female classical twist from 0.10 to 0.11, OFF-DA-HOOK penetrating soulful female croons from 4.58 to 5.00 & 3.15 to 3.17. The way the songs graph gradually builds up from low to high notes in the mukhda is commendable. The female line SAJNAAAA used intermittently throughout is a desperation plea croon to depict the state of helplessness of the lover, and it makes max impact in the video song in the movie when Purbi Joshi cries towards the song's end.

The background orchestration has a SURREAL effect i.e. from 0.24 onwards the white noise in the backdrop gives a feel as if the listener is floating upside down in the open free space n atmosphere where there is zero gravity in an unknown mysterious alien planet or farthest planet Pluto in da universe. The mysterious haunt chorus that grows upon the listener from 1.55 to 2.00 & 5.33 to 5.42 depicts as if the aliens are just nearby hiding around the corner of the planet.

Tere Bina

The starting and ending in unplugged mode is majestic i.e. the catchy feel good guitar riffs with echo effect followed by oriental flute piece from start to 0.19 and the jingle chime effect from 5.31 to end. The underlying orchestration has profound raw African-ish drum hit pattern which is the instrumental USP of song. Himesh’s BEST LINES are TU MERI YAAD MEIN – EE-NN (terrific rising composition pattern) from 1.00 to 1.05 & 1.32 to 1.27 which is VOCAL BUILD UP part followed up by VOCAL KILL EFFECT in lines TUJH SE HI (OFF-DA-HOOK fulltu high-pitch) from 1.07 to 1.09 & 1.40 to 1.41 to convey the desperation plea.

Bhool Jaun (Promotional track) cannot be ranked because it was co-composed.

Bhool Jaun

BEST INSTRUMENTAL PIECE of song is OFF-DA-HOOK catchy guitar riffs from 0.46 to 0.48 & 3.11 to 3.13 give COMPLETENESS effect. OFF-DA-HOOK drum hit pattern from 2.38 to 2.40. Himesh’s high-pitched sharp knife vocals that strike a chord and Sachin Gupta’s combo of passionate feel and feel good vocals. Underlying foot-tapping beats with hard hit pattern, laidback beat skip pattern and quick semi-plugged beats.

Best song in album is Yun Toh Mera Dil. This is quite a challenging album do the whole song ranking, because most songs are nearby at par with each other, with no clear cut runaway winner.

Verdict

Himesh has played safe and covered all ends up by starting da soundtrax with rhythmically catchy melodies like Damadamm, Umrao Jaan and Aaja Ve that are going to grab attention of one and all and find ample airtime in discotheques (including remixes), thus giving da album the ‘dhamakedaar’ kick start.

Since Himesh sings all his songs in his own films, in da past he has tried to break da stereotype by a trend of throwing in a mix of slow semi-classical songs.   

However, in addition to his trademark compositions / vocals, this time around he experiments with and enters into different unexplored genres with a totally new fresh approach to composition and sings it with his new found Radio voice / singing style. In doing so, he shows that da fact that he is da first singer to be able to ‘sing in two distinctive voices’ wasn’t simply a one-off fluke. As a matter of fact, he goes one step ahead and showcases his ‘full range’ in this new found singing style in 4 songs i.e. HUM TUM, MANGO, YUN TOH MERA DIL and TERE BINA which are actually da TRUMPCARD/CHUPPA RUSTAM of this versatile album. Due to da nature and demand of genres, Himesh has also entered in a new domain in terms of his sound design / engineering to do full justice to them.

It is a fully loaded album that caters not only to his hard core fan base that swear by his trademark sound / vocals, but also to aam junta hence it has a wide mass appeal in terms of reach. Himesh shows that in addition to being a talented musician, he is also a street smart business man by reading the tastes and trends of his critics and being hell bent to woo them over in his favor at all cost. He tried this endeavor in Radio also with his musical experimentations, but this time around some of that segment will be forced to re-think and change their pre-biased stance towards him. However, having said that on the flip side this album has two songs Madhushala (with his deliberate forceful nazal twang) and I Need My Space (with his deliberate arrogant feel vocals) which while would be instantly lapped by his hard core fans, would potentially get on his haters nerves and thus negating to some extent his quest to win them.

The new-age Himesh re-invents himself all together again to adapt with changing times and rather becoming a trend setter in terms of delivering songs that are ahead of their time. This album should be MUSICALLY REFRESHING for da listeners and catches them by a pleasant surprise in terms of what it has in store for them to offer. Another high-point of this album is Himesh’s selection of female singers as he breaks away from conventional norms and ropes in veteran like Sadhna Sargam and raw promising talent in Vaishali Made and Aditi Singh Sharma who both make serious melody impact and hit SIXERS in their respective parts.  This album also introduces the vastly popular novel concept of da West in terms of ‘featuring / collaboration’ (with the promotional song Bhool Jaun) which is quite alien to Bollywood. In doing so, Himesh once again promotes promising talent i.e. Sachin Gupta thus showing that he is serious about HR Musik Limited’s vision.

High points as a composer:

The key thing that Himesh done is that he has shown his new dimension by using the KISS (keep it simple stupid) mantra / principle extensively this time round by composing 'simple, well structured n catchy' melodies and he displayed that da same desired results can be achieved (rather than striving to go overboard with complicated / complex raags with prolonged alaaps with twists n turns). In essence, these melodies may seem that they have been created effortlessly with minimum fuss whatsoever and yet they strike all da right chords with tremendous repeat hear value appeal, but da fact is that they have been very carefully planned / laid out and executed with a deeply involved thought process (even in terms of arrangements). 

Enters into new genres with:

> Yeh dil toh machalta nahi – It has a Caribbean / Kabana stamp with Samba / Bossa Nova beats.

> Mango – A late night opera setting.

How a composer can compose such above two master piece songs is just outstanding and to sing them in da manner he did so is just like adding tempting iceing on da already yummy cake. It is like pushing the boundary limits of versatility. In terms of a scenerio, whereby two Himesh haters are tuned in to their local radio station when these songs play and they pump them at full blast in their car woofers with windows down waiting at a traffic singal, asking to themselves 'yeh kisne compose kiya hai aur gaaya hai? Himesh toh nahi ho sakta!' and a Himesh fan in a car besides them proudly yells out to them with a big make-up smile 'haan, yeh himesh ka hi hai, check da credits!' and they look puzzled at each other and exclaim that 'itna kaise badal sakta hai ek insaan'. That is da new-age Himesh for you!

Himesh – the singer, is also seen playing hide n seek (lukka chuppi) with his listeners in terms of ‘awaaz kaun? Pechaan kaun? ’ as he tries to dodge them by pulling out various tricks up his sleeves in terms of his singing versatility and leaves them baffled / miffed.

High points as a singer:

He sings with middle octave innocent subtle / sooth feel vocals and goes on to showcase his full range in his new found RADIO voice / singing style.

In doing so, he has made use of a falsetto voice using his "new Radio vocals / singing style" in the following song portions:

> His line, WOO OOOW (OFF-DA-HOOK high pitched sooth feel vocals) from 0.45 to 0.47, 1.03 to 1.05 & 1.33 to 1.35 in MANGO.

> His line, MERI JAAN – AN – AN – AN (OFF-DA-HOOK deliberate high-pitched intense sooth feel killer soulful croon) from 1.09 to 1.13 & 1.51 to 1.55, followed by his highest note NNNN (HISTORY deliberate highest pitch intense killer soulful croon) from 1.15 to 1.18 & 1.57 to 1.58 in HUM TUM.

A few definitions of a falsetto voice are: a male voice in an upper register beyond its normal range, a form of vocal production used by male singers to extend their range upwards beyond its natural compass by limiting the vibration of the vocal cords, a male singing voice with artificially high tones in an upper register, the higher ranges of the voice in singing; the vibrations of sung notes are felt in the head.

Singing high pitched notes in a falsetto voice is quite a difficult feat to pull off and only pro singers can pull it off with conviction. This is because it is basically trying to sing with an artificially high pitched voice and yet trying to ensure believability in it, without sounding amateurish. This is indeed a remarkable feat by Himesh - the new Radio singer, because prior to this he could only sing in the "middle and lower bazz octave" range, but he found a way for the "high pitch" range using his new Radio singing style n vocals. Having said this, the core fundamentals and versatility of Himesh - the singer can never ever be doubted!

This is PATH BREAKING stuff by Himesh – the Radio singer who really does hell lot of favors upon himself, and people would love to hear Himesh sing these lines live in reality shows and interviews to check out how he actually pulled them off with such amazing grace.

This is because before all haters were unanimous that they don’t like Himesh – the sufi rwak singer with fulltu high-pitched nazal twang vocals.

But after this album, this scenario changes whereby when a hater says that “I hate Himesh – the singer”, the reply is “but which one from his both avatars? Sufi rwak or Radio!” and this is where himesh scores big time because the likely response from haters would be “but I like Himesh – the Radio singer with his new found self-composed restrained singing style” which is yet another feather in his cap / kitty. Because, after all ‘dono muli (i.e. voices) ek hi khet ki hain (i.e. Himesh), it doesn’t really matter as long as one of them is liked after all, and this is starting point as liking one may act / trigger and play as an influential catalyst role of liking even the other one!

Unplugged Performance

Umrao Jaan

Himesh's line, UMRAO JAAN - AAN (OFF-DA-HOOK catchy up down twist) from 2.03 to 2.05

Madhushala

Himesh's line, MADHUSALA MEIN (terrific sooth feel) from 3.06 to 3.07

Aaja Ve Mahiya

As compared to the OST version, Himesh sings it 2 -3 scales lower in the middle octave range which makes the song sound catchy.

Tere Bina Jiya Nahi Jaaye

As compared to the OST version, Himesh sings it 2 -3 scales lower in the middle octave range which makes the song sound catchy.

Himesh's line, ME - IEEEEEEN (catchy prolonged middle octave vocals) from 9.23 to 9.26, TUJH SE HI (awesome innocent sooth feel, bhaut imandaari aur shidat se gaaya hai) from 9.27 to 9.31

Yun Toh Mera Dil

As compared to the OST version, Himesh sings it 2 -3 scales lower in the middle octave range which makes the song sound catchy.

Now it can be seen that Himesh is actually smiling whilst singing this song, and this feeling was also felt while listening to its OST version (whereby one can imagine such visuals).

For example, hear out the starting vocal alaap OOOOO in O JAANA LUVE U MISS U from ROCKY - THE REBEL and one can imagine his visual expressions whilst crooning it (whereby he literally pours his heart out). Hope that one day he would sing this part live too to depict what I mean. Hence, Himesh - the singer is a true professional who does justice to da song's requirements rather than just crooning its lyric lines just for da sake of it.

Himesh's line, AASANI SE (middle octave emphasis vocals) from 10.03 to 10.04

Himesh's line, OO - OO - OO - OO (OFF-DA-HOOK catchy croons) from 10.05 to 10.06

Himesh's line, WOOUOOO (OFF-DA-HOOK catchy feel good croons) from 10.15 to 10.16 & 11.04 to 11.05

Himesh's line, LEKIN JAB SE DIL GAYA (HISTORY fulltu high-pitched intense stressful emphasis vocals, literally pours his heart out and gets lost in his own world!) from 10.24 to 10.28, gaane me dil-o-jaan dal dete hain! It can be seen from his facial expressions as to how much effort in terms of input is required for this particular line, outstanding commitment and dedication to his craft in order to extract da right mix of emotions.

Hum Tum Train Ki

As compared to the OST version, Himesh sings it 2 -3 scales lower in the middle octave range and sings it at a slower pace/tempo which makes the song sound catchy.

Himesh's line, JAANTAAAAAAAA (prolonged middle octave impact vocals) from 11.57 to 12.00, MILENGEEEEEE (prolonged raw casual ustad emphasis vocals) from 12.02 to 12.04

Himesh's line, JAAN - AA - AA - AA (HISTORY killer soulful croons joh listener ki jaan nikal dete hain) from 12.14 to 12.20, dil ke andar ki pukar which is straight from da heart trying to rip out da listeners soul...joh awaaz dil se nikal ke rooh koh chu jaaye woh awaaz Himesh Reshammiya ki hai!

Mango

Himesh confirms that 'yeh gaana mere dil ke bhaut kareeb hai' and also da rationale behind its lyrics that cater to da situational backdrop of da film.

As compared to the OST version, Himesh sings it 2 -3 scales lower in the middle octave range which makes the song sound catchy.

Himesh's line, HMMMMM (waah! kya sur pakda hai, mindblowing catchy notes) from 13.36 to 13.41

Himesh's line, I MISS U BABY (OFF-DA-HOOK feel vocals just connect with the heart!) from 14.31 to 14.33

Himesh's sideways rolling of da eyes from 14.34 to 14.35 is awesome facial expression.

Himesh's lines, LIKE MANGO (awesome sooth feel) from 14.39 to 14.41

Bottomline

In this Damadamm unplugged performance, Himesh has sung these unplugged songs in 2 - 3 scales lower than their respective OST counterparts, with his 'middle octave impact' vocals due to which the songs sound damn catchy

This does not take anything away from the OST that was already good, but this unplugged song versions just strike a chord, win over da listeners and bowl / woo them over.

As the original title of da film Ishq Unplugged suggested so, yeh toh kamaal ka Damadamm unplugged ho gaya boss.