Kajra Kajra Kajraare

After judging da intense facial expressions in first look posters, one expects a serious opening to da soundtrax but it turns out to be quite exactly da opposite i.e. feel good.

The song begins with Sunithi's subtle seductive feel croons in unplugged mode to set the song's undertone. A special mention for da camera rotational angle (top left from da sky to down in da desert) in da promo during this part which sets it up perfectly.

The rhythmic beat that suddenly kicks in from 0.12 onwards reminds of the rhythmic beat pattern of SONIYE JE TERE and beginning beat pattern of TANDOORI NIGHTS from KARZZZZ only in terms of the intended RnB feel.

The new-age wicked rebel bazz sound from 0.16 to 0.17 was similarly used at 0.00, 0.05 & 0.10 in SONIYE JE TERE from KARZZZZ.

Himesh starts on a terrific scale with line, KAJRA (HISTORY prolonged repetitive middle octave echo effect is the key to represent the outdoor setting) from 0.17 to 0.27 that gets the listeners straight away into da groove and makes them feel it big time.

The terrific subtle rising groovy tune sur from 0.23 to 0.28 that was used for similar effect from 1.04 to 1.10 in JUNOON JUNOON from ROCKY - THE REBEL (pre-release version, not OST) compliments and enhances the terrific sur of Himesh's vocals.

Proceedings become bright and peppy with Sunithi's lines KAJRA KAJRA KAJRA-AAARE (profound bindaas feel good twist) from 0.28 to 0.49

The underlying heavy rhythmic beat pattern kicks in from 0.39 onwards.

Sunithi gets super excited with her rap that brings a cheeky smile/giggle on the listener's face, especially WOOO YA MOVE IT NOW from 0.50 to 0.56 that drives da listener totally berserk.

From 0.50 to 1.11, the peppy Arabic tune which had a similar feel from 2.42 to 2.51 & 3.58 to 4.06 in AFSANA BANAKE from DIL DIYA HAI further brightens up the mood.

The off-da-hook heavy raw drum hit pattern from 1.00 to 1.01 gets the song rolling.

Himesh plays smart and creates a well structured catchy repetitive hook based upon the Album's title, way to go!

His repetitive lines, KAJRA KAJRA KAJRAAAA (awesome quick gradual rising profound emphasis twist that gives KICK) RE * 3, EEEEE (prolonged twist) from 1.12 to 1.32 is typical of his trademark Sufi-Rwak style.

Lyrics like, MATI MAR GAYE from 1.33 to 1.37 are frankly just LOL.

Himesh's lines, MAR GAYE-EEEE (dying effect) from 1.33 to 1.36, 2.01 to 2.03 & 3.02 to 3.03 is his trademark Sufi-Rwak vocal finishing effect.

He hits it real hard and good, and by the time the additional heavy raw beat pattern joins in from 1.23 onwards, the underlying beat whose tempo is in rhythmic sync with Himesh's vocals forms a rhythmic catchy repetitive loop (as also depicted by his expressions in the video) whereby the listeners feel like swaying in extacy.

The off-da-hook heavy raw beat pattern from 1.31 to 1.33 & 1.48 to 1.50 gives sike until the listener totally feels it.

Himesh totally KILLS it with off-da-hook heavy raw drum hit / skip pattern from 1.38 to 1.39 & 2.05 to 2.06 gives tremendous kick.

The listener gets into da zone with Himesh's simple yet catchy vocals having ubber rwakin nazal twang at its very best from 1.50 to 2.00, with emphasis on NA ME JAAGA (catchy lines with straight singing) from 1.50 to 1.51 & 1.56 to 1.57, tujh ko DEKH (terrific passion twist, feels jazba) from 1.53 to 1.54 & 1.59 to 2.00

Himesh's line KAJA (awesome variation in note) RA from 2.09 to 2.10

Between mukhda & 1st stanza, Sunithi's energetic rap along with the peppy Arabian tune piece enhances the feel good hip hop nature.

Himesh continues his old school sufi-rwak school of music styled composition of prolonged emphasis twists-n-turns with deja-vu feel in stanzas.

1st stanza

Things take an RnB chill pill courtesy due to laidback beat effect and Himesh's subtle feel vocals.

Himesh's lines, ALAM BADA (high-pitched forceful singing) from 2.45 to 2.46, HAAI-AAI (subtle low feel twist) from 2.47 to 2.48

Himesh's line, KAA - AAA (subtle low abrupt feel twist) from 2.50 to 2.52 was similar to the line TUM BIN-NNN (subtle low abrupt feel twist) from 1.03 to 1.04 & 1.34 to 1.35 in VEERENIYA from NAMASTE LONDON.

Himesh's line, KA-AA-AA AA (feel good up note) AA (feel good down note) from 2.54 to 2.56 was inspired by line CHHOR DE (feel good up note) EE (feel good down note) from 2.36 to 2.37 & 3.24 to 3.25 in MANN KA RADIO from RADIO.

Himesh's line, GAYA (passionate) at 2.56 & 2.59

Between 1st & 2nd stanza, a passionate violin piece plays followed by peppy Arabian tune piece along with Sunithi's energetic feel good hip hop rap.

2nd stanza

Things take an RnB chill pill courtesy due to laidback beat effect and Himesh's subtle feel vocals.

Himesh's lines, AAYE NAZAR (high-pitched forceful singing) from 3.44 to 3.45, CHEHRA - AAA (subtle low feel twist) from 3.47 to 3.48

Himesh's lines, WOH HAI CHEHRA (sooth feel) TUMHARA (awesome abrupt low twist) from 3.48 to 2.52, TUMHARA * 3 (gradually rising notes) from 3.53 to 3.55

Himesh's lines, RA-AA (feel good up note) AA (feel good down note) from 3.55 to 3.56 was inspired by line CHOR DE (feel good up note) EE (feel good down note) from 2.36 to 2.37 & 3.24 to 3.25 in MANN KA RADIO from RADIO.

Right at da end when da heavy orchestration (beat that spins in an off-da-hook repetitive loop) stops followed by Himesh's HISTORY repetitive middle octave echo croons KAJRA - KAJRA - KAJRA that strike a chord as this is path breaking stuff as a singer, da manner in which a continuous vibrant groovy ambient tune joins in from 4.29 to end is OFF-DA-HOOK CULT stuff.

Highlights of this Song:

1. Himesh's sharp knife edge Sufi Rwak vocals with prolonged emphasis twists-n-turns and history middle octave echo croons at start and end.

2. Sunithi's energetic feel good hip hop rap and subtle seductive feel female croons, .

3. The awesome tune sur at start, new-age wicked rebel bazz sound, peppy Arabian tune piece and feel good violin piece.

4. The underlying off-da-hook heavy raw drum beat pattern in rhythmic sync that takes its own time to come to da party and off-da-hook additional heavy raw drum hits /skip pattern to give sahi desired effect are USP.

In terms of tempo, this song keeps on alternating and switching between the following beat effect:

The first is the 'laidback build up' part whereby the basic rhythmic beats get listeners into the Hip Hop RnB groove.

The second is the 'kick giving' part whereby the kill effect is delivered by raw drum hits followed by heavy raw drum beat pattern.

All in all, it has path breaking HEAVY orchestration by Himesh - the composer whereby he rwaked it n hit it really good in his music room during its song recording.

If stanza lines and their gap filler tunes could have been longer and matched up the mukhda in terms of melody, this song could have been better manifolds.

But then the emphasis was mainly on mukhda lines upon which the song heavily relies, with the funda that a good beginning is half work already done!

Rabba Luck Barsa

Himesh sings the best song of the Album and (one of his best ever sung & composed songs) with sharp knife edge sufi rwak vocals.

The song begins with Himesh's subtle feel thehrav croons with strong Arabian touch (with a mix of helplessness / optimism and asking for sympathy) which is some sort of tribute to Raj Kapoor, along with a subtle passionate violin piece.

The penetratingly groovy catchy tune piece in unplugged mode that gives a feel of a man on a mission in Middle Eastern deserts from 0.21 to 0.31 enhances the Arabian flavor and builds up the song tremendously.

From 0.31 onwards, the beat pattern that is comprised up of a new-age beat skip followed by 2 HARD and SHARP beat hits, reminds of the beat pattern in SONIYE JE TERE from KARZZZZ, in terms of the new-age beat skip followed by 2 clap effect (replaced by 2 hits instead).

From 0.31 onwards, the lighter 2 hit pattern kicks in.

Himesh's line RABBA (distant echo effect) at 0.36, 0.41 and RABBA LUCK BARSA (off-da-hook distant echo effect sends a chill pill down da spine) from 1.07 to 1.09 depicts the goonj of plea from pahadi ilaka.

Mahesh Bhatt's interlude from 0.42 to 1.07 makes a strong impact and strikes a chord.

From 1.15 onwards, himesh starts on the best possible high-pitch scale which couldn't have been any better to fully express himself and the underlying beat pattern is in rhythmic sync with his vocals.

Himesh's lines, MAHIYA SE DEEDAR KARADE from 1.15 to 1.19 give HALKE SE kick and get da listener into da zone.

The awesome pleasantly likeable quick violin flick from 1.29 to 1.31 & 0.48 to 0.49 expresses the passionate emotional feel.

Himesh's lines, LUCK * 4 (catchy repetitive emphasis hook) from 1.31 to 1.32 & 1.36 to 1.37 gives KICK and the accompanying 2 note (low, higher) guitar riff from 1.31 to 0.32, 1.33 to 1.34, 1.49 to 1.51 & 1.52 to 1.53 gives awesome tune sur.

Himesh's lines, TARSA TARSA (terrific sufi-rwak prolonged emphasis twists-n-turns) from 1.42 to 1.44

Himesh fully expresses himself with lines, AAAAAAAA (terrific prolonged high-pitched passionate vocals with dying sufi-rwak vocal finishing effect) from 1.44 to 1.46 is similar to the line NAAAAAAA (terrific prolonged high-pitched vocals) from 1.20 to 1.23 & 2.04 to 2.06 in MILE HO TUM TOH from DIL DIYA HAI.

From 1.45 to 1.46, a profound bazz sound plays in unplugged mode followed by quick raw drum hits that give sahi desired KILL effect, with emphasis on the last two drum hits that are in off-da-hook SYNC with himesh's line RABBA at 1.47

From 1.48, the heavy 2 hit pattern kicks in and by the time Himesh croons LUCK*4 (off-da-hook catchy) from 1.50 to 1.51, the song is in full form.

Himesh's lines, KARA (off-da-hook desperation plea twist) DE at 1.57, LUCK (awesome desperation plea twist) from 1.58 to 1.59, BARSAA - AAA (awesome abrupt twist with echo effect) from 2.00 to 2.01

Off-da-hook beat effect at 2.00

Between mukhda & 1st stanza, himesh's subtle feel croons are back followed by string riffs from 2.32 to 2.42 that remind of string riffs from 1.52 to 2.11 in DIL DIYA HAI TITLE TRAX. Off-da-hook profound heavy raw drum pattern hits it from 2.42 to 2.43

1st stanza

From 2.43 to 2.48 & 2.54 to 3.10, listener feels it big time with free flowing underlying beat with heavier 2 hit pattern along with himesh's high-pitched passionate vocals, with emphasis on TERI (fulltu), DARDE (fulltu).

From 2.49 to 2.54, the penetratingly groovy catchy tune piece along with underlying beat with lighter 2 hit pattern builds up the lines tremendously.

Himesh's lines, MITA (awesome passionate twist) DE MERI (passionate feel) from 3.02 to 3.05

Himesh's lines, TAN-HAA (terrific full throated vocals with ghehrayi) YI from 3.05 to 3.06 had a similar history feel in line TAN-HAAI (raw emphasis vocals with ghehrayi) YAAN from 1.00 in TANHAAIYAAN from AKS-THE MOVIEE.

Himesh's lines, SAJADE (normal note) - EEE (terrific higher pitch passionately intense emphasis croon gives JAZBA, waah kya sur pakda hai!) from 3.09 to 3.10 was inspired by Udit's and Alka's line NA (normal note) - AA (higher note) from 1.00 to 1.01 & 1.27 to 1.28 in DHADKAN HO GAYEE from JULIE.

The heavier hit pattern is replaced with lighter hit pattern from 3.11 to 3.13

Once again Himesh goes fulltu with line TARS-AAAAAA (prolonged emphasis dying effect) from 3.14 to 3.15 along with awesome faint dying female vocal effect.
Himesh's lines, SE DEEDAR KARADE (off-da-hook desperation plea) from 3.24 to 3.26

Between 1st & 2nd stanza, a well structured Arabian flavored groovy piece plays with off-da-hook beat skip from 3.31 to 3.32 and the female seductive feel croons join in from 3.40 to 3.50. The DIL DIYA HAI styled string riffs are followed by off-da-hook profound heavy raw drum pattern.

2nd stanza

From 4.01 to 4.05 & 4.12 to 4.27, the listener feels it big time with underlying beat with heavier 2 hit pattern which is in full form along with himesh's high-pitched passionate vocals makes it a free-flowing affair, with emphasis on DHADKAN (emphasis singing) that reminds of himesh's line DHADKAN (emphasis singing) from 1.11 to 1.14 in TUM SAANSON MEIN from HUM KO DEEWANA KAR GAYE.

From 4.05 to 4.11, the penetratingly groovy catchy tune piece along with underlying beat with lighter 2 hit pattern builds up the lines tremendously.

Himesh's lines, SILA (awesome passionate twist) from 4.20 to 4.21, BOOND (awesome desperation plea twist) at 4.25

Himesh's lines, BIKHRADE (normal note) - EEE (terrific higher pitch passionately intense emphasis croon gives JAZBA, waah kya sur pakda hai!) from 4.26 to 4.27 was inspired by Udit's and Alka's line NA (normal note) - AA (higher note) from 1.00 to 1.01 & 1.27 to 1.28 in DHADKAN HO GAYEE from JULIE.

The hard and sharp hit pattern is replaced with lighter hit pattern from 4.28 to 4.32

Once again Himesh goes fulltu with line TARS-AAAAAA (prolonged emphasis dying effect) from 4.32 to 4.33 along with awesome faint dying female vocal effect.

The song finishes with Himesh's subtle middle octave desperation plea croons that are an amazingly stark variation & contrast between his high-pitched passionate mukhda vocals, followed by pahadi ilaka middle octave echo effect.

Just hear out da underlying beat which is in full form from 4.58 to 5.18 whose skip pattern CULT stuff.

Highlights of this song:

1. Himesh the Sufi Rwak singer is in full form with terrific contrast mix of subtle feel thehrav croons and high-pitched passionate sharp knife-edge sufi rwak vocals.

2. The trademark Sufi-Rwak composition pattern of catchy repetitive hooks with prolonged emphasis twists-n-turns coupled with the free-flowing rhythmic beats (that alternates between lighter and hard sharp hit pattern) in sync with vocals.

3. The quick passionate violin flicks, the well structured Arabian flavored penetratingly groovy tune piece/s, off-da-hook drum hit pattern in 1st stanza gap, the 2 note (normal, higher) guitar riff, off-da-hook beat effect at 0.59 and 2.01, profound heavy bazz sound in unplugged mode and raw drum hits in mukhda lines to give sahi desired effect.

4. Sameerji's uncomplicated simple and rhythmic lyrics, with emphasis on innovative phrase RABBA LUCK BARSA (truly, hats off!).

5. Mahesh Bhatt's promising intro lines to remind everyone that the whole project comes from his camp, and awesome faint dying female vocal effect in stanzas.

This free-flowing rhythmic catchy song comes from Himesh Reshammiya's top Sufi-Rwak music drawer and its tempo gives a feel of "dheere ka jhatka zor se lage" whereby the listener experiences a subtle foot-tapping sike and feels it big time.

It is a path-breaking melody whereby himesh reshammiya is back at his best as a Sufi-Rwak composer!

Aafreen

Ustad Himesh Reshammiya is at the helm of affairs.

He puts his HEART and SOUL to croon "one" of his BEST SEMI CLASSICAL SUNG N COMPOSED songs that just immensely grows upon da listener upon repeat hears.

This is also the best semi classical song from the other remaining two in da album.

The song begins with pleasantly likeable Indian string based instrument until 0.18 with awesome bounce effect that was similarly used from 0.51 to 1.11 in WOH TASAVUR from AAITRAAZ and from 2.09 to 2.20, in stanzas & 5.33 to end in TERE BIN CHAIN NA AAVE from KARZZZZ.

The underlying beats with profound laidback dose of tabla beat pattern kick in from 0.19 onwards.

The guitar riffs from 0.19 to 0.24 & 0.44 to 0.50 give awesome tune sur.

The emotional raga tune plays in between 0.25 & 0.44, from 1.06 to 1.12

The string based raga instrument from 0.38 to 0.39 & 0.41 to 0.42 was also used from 4.05 to 4.12 in TERA MERA MILNA from AKS - THE MOVIEE, from 0.32 to 0.46 in AMEEN from RED, from 0.05 to 0.33 in CHALO DILDAR CHALO from DIL DIYA HAI & from start to 0.29 in DIL NAIYO MAANE RE from PHIR HERA PHERI.

The Indian string based classical instrument with majestic QUICK BOUNCE effect from 0.51 to 0.55 is a musical treat to purists and it brings pleasant thehrav to da proceedings.

It is a 'total effort' by Himesh whereby he pours his heart out with his intense high pitched vocals in mukhda lines, JAB SE TOSE AAKHIYAAN LADAYE HAIN which have a deja-vu feel to the lines MAINE KAHE TOSE AAKHIYAAN LADAYEE from 1.35 to 1.48 in DHOOM TERE ISHQ KI from KARZZZZ.

Himesh's lines, TOSE (terrific sudden abrupt FULLTU high-pitched passionate intense emphasis, vintage sufi rwak Himesh) from 0.52 to 0.53, 1.14 to 1.15 & 1.52 to 1.53, LADAYI HA-AAAAAIN (pours his heart out, vintage sufi rwak Himesh) 0.59 to 1.04, 1.18 to 1.22 & 1.56 to 2.00, MERI JAAN (innocent feel twist) PE BAN AAYI HAIN (lower octave) from 1.24 to 1.30 & 2.02 to 2.07

Himesh's line, MERI JAAN (twist hook) from 1.29 to 1.30 & 2.05 to 2.07 is similar to line KAT-TEE (twist hook) from 3.00 to 3.02 in DIL NE YEH NA JAANA from RED - THE DARK SIDE.

Himesh goes inner soul searching with well structured repetitive lines AAF (halke se kick)-REEN (normal note) AAF (halke se kick)-REEN (lower octave note) from 1.30 to 1.49 & 2.08 to 2.21 that are sung with awesome subtle feel vocals.

This is the new innovation brought by him whereby he curbs his natural aggressive sufi rwak instincts and sings within himself in a self composed restrained manner to give THEHRAV.

In essence up until this point, this is Himesh's terrific COMBO MIX of both worlds i.e. the old sufi rwak (fulltu) Himesh and the new post Radio Himesh (self composed restraint).

The intermittent raga tune flicks are of great cause and Indian string based instrument brings a thehrav to proceedings.

Between mukhda & 1st stanza, likeable guitar riffs are joined by awesome extended male classical croons, with emphasis from 2.47 to 2.48 (fully expresses the desperation feel by gradually rising high-pitched profound classical twist) and followed by emotional raga theme piece.

1st stanza

Himesh sings with desperation feel vocals from 3.09 to 3.23 along with intermittent raga tune of great cause.

Himesh's lines, LAAGI (soothing classical feel twist) from 3.22 to 3.24, CHUTE NA ( lower octave innocent feel vocals) from 3.28 to 3.30

The composition pattern and deliberately forceful nazal effect emphasis singing from 3.33 to 3.51 gives a faint feel of composition pattern from 3.12 to 3.09 in DHOOM TERE ISHQ KI from KARZZZZ and deliberately forced nazal effect emphasis singing from 2.37 to 2.48 in AAWAN AAKHIYAAN from AHISTA AHISTA, with emphasis on line PYAASA from 3.48 to 3.50

The continuously gradually descending groovy flute from 3.33 to 3.43 is of great cause.

Between 1st & 2nd stanza, a bright Rajasthani folk tune piece plays from 4.18 to 4.30 followed by an pleasantly likeable traditional flute from 4.30 to 4.46 with emotional quotient, which is enhanced by male classical subtle feel croons. The raga theme piece is joined in by a subtle groovy flute from 5.06 to 5.12

2nd stanza

Himesh sings with desperation feel vocals from 5.14 to 5.30 along with intermittent raga tune of great cause.

Himesh's lines, TUUUU (soothing classical feel twist) from 5.30 to 5.33, SAANSON MEIN (lower octave innocent feel vocals) from 5.33 to 5.35

The composition pattern and deliberately forceful emphasis singing from 5.36 to 5.54 gives a faint feel of composition pattern from 3.12 to 3.09 in DHOOM TERE ISHQ KI from KARZZZZ and deliberately forceful emphasis singing from 2.37 to 2.48 in AAWAN AAKHIYAAN from AHISTA AHISTA, with emphasis on line HAIN (forceful ustad emphasis) from 5.45 to 5.46

The continuously gradually decsending groovy flute from 3.33 to 3.43 is of great cause.

Himesh's line, HAAIN (ustad emphasis) at 5.53 followed by terrific rising emotional feel raga tune piece from 5.54 to 5.55

Himesh reserves his best for the last with Harshdeep who elevates this song to a whole new level and one wonders why he was not so accomodating to give her the whole stanza but just a few ending lines. Harshdeep ki awaaz is gaane par 'char chand' laga deti hain.

Her lines strike a chord, with emphasis on TOSE (terrific sudden abrupt voice rise) from 5.53 to 5.54, LADAYEE HAAAIN (terrific deep alto penetrating prolonged down twist) from 6.01 to 6.06, MERI (HISTORY fulltu high-pitched penetrating vocals deliver VOCAL KILL effect) JAAN PE BAN AAYI HAI (terrific lyrics that connect emotionally depicting the herione's dilemma) from 6.07 to 6.10

Her lines, AAA (HISTORY KILLER high-pitched profound classical twist) FREEN * 4  from 6.12 to 6.25 have the TADAP and KASHISH of a DYING SOUL and DIL KI PUKAR that leave da listener GUTTED, OFF-DA-HOOK from 6.19 to 6.20.

Those listeners who connected with the story of Kajraare film re the helplessness of poor Nargis and the determination / quest of past-troubled Rajeev to fight for her right and shower / bestow her with all the happiness she otherwise deserved but was deprived of, would also shed a tear or two when harshdeep's line AFREEN * 4 plays in movie from 1.49.31 to 1.49.42 when both of them hold hands as that scene strikes a strong emotional chord mix of both sadness due to their past separation struggles and happiness due to their final reunion.

The song finishes with a combo of raga string flicks and raga tune.

Highlights of this song:

1. Himesh's forceful emphasis singing, with innocent sooth feel and middle/lower octave vocals.

2. Harshdeep's penetratingly heavy impact vocals in top form that HIT A SIXER in the given limited scope. Truly hats off, salute n take a bow!

3. The profound laidback tabla beat pattern, emotional raga theme piece and tunes, Indian string based instrument, gradually descending continuous groovy tune in stanzas, traditional flute and Rajasthani folk tune in 2nd stanza gap.

4. The classical male croons with emotional quotient.

Tujhe Dekh Ke

The song begins with heavy laidback drum skips that are representative of Rajasthani forts, along with chime effect.

From 0.05 to 0.23, Himesh goes the Rajasthani Folk way and shakes up da listener with his emphasis singing slogan croons with echo effect, especially REEE (abrupt slogan dying effect leave) from 0.07 to 0.09, 0.12 to 0.14 & 0.22 to 0.24, REEEE (profound sufi-rwak twist) from 0.17 to 0.19, which reminds of his lines from start to 0.04 & 3.46 to 3.53 in NAMUMKIN from SLBB in terms of loud impact.

The raga tune from 0.24 to 0.33 builds up the song.

Himesh's lines from 0.50 to 0.56 is a totally new composition pattern, with emphasis on AAGE (awesome soothing feel twist) from 0.54 to 0.56

The intermittent raga tune is of great cause, with emphasis on awesome echo effect from 0.56 to 0.59

The underlying rhythmic laidback beats with a repetitive SHARP hit pattern that arrives from 0.59 onwards was similarly used from 0.32 to 0.37 in OH HO SANAM from DASHAVATAR.

An effectively well structured Arabian string based tune plays from 1.04 to 1.13

Himesh continues his emphasis singing along with intermittent raga tune, with emphasis on JAGE-EEE (awesome profound sufi-rwak emphasis twist gives kick) from 0.38 to 0.40, 1.18 to 1.19 & 1.33 to 1.34, MARA (arrogant folkish feel with sufi-rwak dying vocal finishing effect) from 0.41 to 0.42, 1.21 to 1.22 & 1.35 to 1.36, LAGE-EEE (awesome profound sufi-rwak emphasis twist gives kick) from 0.46 to 0.47, 1.25 to 1.26 & 1.40 to 1.41

The raga twist from 1.27 to 1.28 is similar to the raga twist from 0.09 to 0.11 & 0.15 to 0.17 in AASHIQUI ME TERI from 36 CHINA TOWN.

The continuous synthetic tune sur from 1.44 to 1.48 along with Himesh's vocals gives awesome overall effect.

Himesh's line AAGE (awesome classical subtle feel twist) from 1.48 to 1.50 along with awesome raga tune.

From 1.51 to 2.10, it is a new attempt by himesh who soothens his vocal chords to sound feel good on well structured pattern complemented well by Arabian string instrument tune. This experiment would be met with mixed response with either da listener liking or totally disliking it i.e. it either appeals or backfires coz da meaningless phrase doesn't make any sense either.

Between mukhda & 1st stanza, a likeable extended raga piece is joined in by Shreya's awesome subtly refreshing croons.

1st stanza

Things really get laidback chill pill serene with Shreya's subtle refreshing vocals with fresh blast of mystic air.

Her lines, YARA-AAAAA (awesome prolonged gradual voice deepening with abrupt echo twist effect) from 2.33 to 2.36, HOO-OOOOO (awesome prolonged abrupt twists with echo effect) from 2.45 to 2.48

From 2.56 to 3.09 is best part of song whereby a composed himesh with restraint sings with HISTORY middle octave desperation feel vocals on a new composition pattern, with emphasis on lines MER-AAA (HISTORY desperation plea note) from 2.57 to 2.58, MERE LAMHATON MEIN (TERRIFIC middle octave impact singing) from 3.03 to 3.04, HAAAI (HISTORY killer desperation plea with tadap where he pours his heart out, konnekts with the listener) at 3.05, RUBARU (awesome desperation plea twist) UUUUUU (awesome lower octave twist) from 3.06 to 3.10

Himesh's line, TU AARZOO (HISTORY desperation feel) from 2.58 to 3.00 is similar to Sunithi's line, HAR GHADI (awesome desperation feel) from 2.32 to 2.33, & CHAAHAT HAI (awesome desperation feel) from 4.08 to 4.09 in TANHAIYAAN from AAP KA SUROOR - THE MOVIEE.

His desperation feel vocals are his BEST EVER in a Himesh 'composed n sung' song. They totally connect emotionally, are out of da world experience and would make any heroine give in from hero's perspective. A special mention for da terrific lyrics too.

String flicks at 3.00 (normal), 3.03 (higher) give awesome tune sur.

Off-da-hook wicked bazz guitar riff from 3.29 to 3.30

Between 1st & 2nd stanza, a quick repetitive Arabian tune piece plays followed by dodgy piano key flicks and raga tune. Shreya's awesome subtle vocals have refreshing feel.

2nd stanza

Things really get laidback chill pill serene with Shreya's awesome subtle refreshing vocals with fresh blast of mystic air.

Her lines, KAR-DEEEEEE (awesome gentle prolonged deepening with abrupt echo twist) from 4.12 to 4.14, ZINDAGI-EEEE (awesome quick twists) from 4.15 to 4.16, MAINE-EEEEE (awesome prolonged gentle voice deepening with subtle feel) from 4.24 to 4.27

From 4.34 to 4.48 is best part of song whereby a composed himesh with restraint sings with HISTORY middle octave desperation feel vocals on a new composition pattern, with emphasis on lines TUM-MMM (HISTORY desperation plea note) from 4.36 to 4.37, DIL MEIN (terrific emphasis vocals) from 4.40 to 4.42, DIL KI (HISTORY desperation plea note) from 4.43 to 4.44, MEL-FIL MEIN (awesome desperation plea twist) EEEEEE (awesome lower octave twist) from 4.44 to 4.48

His desperation feel vocals are his BEST EVER in a HR composed n sung song. They totally connect emotionally, are out of da world experience and would make any heroine give in from hero's perspective. A special mention for da terrific lyrics too.

String flicks at 4.39 (normal) & 4.42 (higher) give awesome tune sur.

Himesh's line ME-EEEE (awesome emphasis singing) from 4.38 to 4.41 has a similar feel to line ME-EEEE (terrific emphasis singing) from 2.44 to 2.45 & 4.52 to 4.53 in TERA MERA MILNA from AKS - THE MOVIEE.

Himesh's line, MHARA (terrific arrogant feel vocals) from 4.55 to 4.57

From 5.10 to 5.11, off-da-hook wicked bazz guitar riff.

Highlights of this song:

1. The underlying laidback beats with a repetitive sharp hit pattern, raga tunes, well structured Arabian string based tune, quick repetitive Arabian tune piece in 2nd stanza gap, awesome string flicks in stanzas, the continuous synthetic tune sur and off-da-hook wicked bazz guitar riff.

2. Himesh's emphasis singing of folkish mukhda lines, sooth feel good twists and HISTORY middle octave vocals with restraint.

3. Shreya's terrific refreshing subtle feel vocals with gentle voice deepening.

4. The echo effect that gives an exotic serene outdoor feel.

This is a totally new attempt / experiment by both Himesh - the composer (in terms of music arrangement with a laidback serene back drop and composition pattern) and Himesh - the singer (soothing feel good twists and self-composed middle octave singing with restraint), except for the core mukhda lines whereby he goes fulltu with Sufi-Rwak profound emphasis twists.

Its USP is the treatment of its music arrangement and vocals that result in a serene laidback backdrop theme, a fact that can also be evidenced it its unique mindblowing video.

Though not a top tune composition wise that would get time to get used to due to its unusual nature, this situational song should do full justice to the film's backdrop.

Its stanzas are better than its mukhda, and it is amazing how this song picks up, builds gradually into its full form and into its business end whereby da listener realizes its greatness.

This is the CHUPPA RUSTAM song of da album, which may look ordinary at first instance but will grow upon da listener with repetitive hears to da point that it gets respected big time.

Whenever possible, go out for a drive on any highway with minimal traffic at dusk / sunset (when the sun has almost nearly set out with only few traces of blue / white / red areas in da sky) and play this song at loud volume. It will give an amazing serene laidback mood and ambience, and will transport you into a different world of your own as you enjoy the sunset, drive and da song. Try it once!

Teriyaan Meriyaan

Ustad himesh reshammiya is at the helm of affairs.

The song begins with an Indian string based instrument in unplugged mode (with awesome quick bounce effect from 0.02 to 0.03 & 0.14 to 0.15), which was similarly used from 0.51 to 1.11 in WOH TASAVUR from AAITRAAZ, 2.09 to 2.20, in stanzas & from 5.33 to end in TERE BIN CHAIN NA AAVE from KARZZZZ.

From 0.15 to 0.50, a passionately intense violin piece plays, with emphasis on tune from 1.18 to 0.19 & 0.26 to 0.27 which is similar to tune of line DEKHLE from 0.44 to 0.45 in TERE BIN CHAIN NA AAVE from KARZZZZ.

Shreya's subtle feel croons from 0.44 to 0.50 are terrific.

The underlying profound tabla beat pattern with a slow laidback foottapping feel kicks in from 0.51 onwards.

The male classical croons with echo effect from 0.51 to 1.00 set the semi-classical undertone of song.

The raga theme piece plays from 1.01 to 1.13 has a similar tune to the passionately intense violin piece from 4.38 to 4.39 in TANHAAIYAAN REMIX from AKS - THE MOVIEE.

The tune of Himesh's line MEEE (up down up) from 1.54 to 1.55, 2.00 to 2.01, 2.24 to 2.25 & 2.30 to 2.31, TEEE (up down up) from 1.57 to 1.58 & 2.27 to 2.28, is similar to line TERE (up down up, history) from 2.42 to 2.43 in TANHAIYAAN from AKS - THE MOVIEE, DEKHLE (up down up) from 0.56 to 0.57 & 1.34 to 1.35 in TERE BIN CHAIN NA AAVE from KARZZZZ.

Himesh's lines, CHAKNE (profound Jammu pronounciation emphasis style) from 1.14 to 1.15, 1.27 to 1.28, 2.03 to 2.04, PAKNE (profound Jammu punjabi pronounciation emphasis style) from 1.20 to 1.21 & 1.33 to 1.34

Himesh's lines, DOORIYAN (awesome abrupt leave) YAN * 4 (awesome echo effect in SYNC with 1 beat hits in unplugged mode) from 1.47 to 1.50 & 2.18 to 2.20

The 1 hard hit at 1.50 & 2.21 is of great cause to kick start proceedings again.

The Indian string based instrument from 2.07 to 2.08 gives sahi desired effect.

Between mukhda & 1st stanza, feel good guitar riffs is joined by the Indian string based classical instrument with majestic QUICK BOUNCE effect from 2.40 to 3.05 which is a musical treat to purists and it brings pleasant thehrav to da proceedings, followed by raga theme piece.

1st stanza

Himesh sings his part with passion emphasis vocals.

The raga tune from 3.23 to 3.25 is of great cause.

From 3.26 to 3.37, shreya sings with her innocently melodious high-pitched vocals as if she just had lot of honey and sweet flour.

The Indian string based instrument accompanying her vocals from 3.35 to 3.37 is of great cause.

Between 1st & 2nd stanza, the combo of groovy oriental harmonica tune and Shreya's vocals with a blast of fresh air (with emphasis on her mindblowing naughty vocals from 4.16 to 4.18) sends a chill pill and takes the listener down the memory lane of serene exotic locales during late sunset with a dark ambient feel. The raga theme piece plays from 4.21 to 4.26

2nd stanza

Himesh sings his part with passion emphasis vocals.

The raga tune from 4.38 to 4.40 is of great cause.

From 4.41 to 4.53, shreya sings with her innocently melodious high-pitched vocals as if she just had lot of honey and sweet flour.

The Indian string based instrument accompanying her vocals from 4.50 to 4.53 is of great cause.

The song ends with an awesome raga twist echo effect in unplugged mode.

Highlights of this song:

1. Himesh's passionate vocals and Shreya's refreshingly innocent melodious vocals.

2. The underlying profound laidback tabla pattern, emotional raga theme piece, Indian string based instrument with bounce effect / flicks, intense violin piece at start and oriental harmonica piece in 2nd stanza gap.

3. Semi-classical male croons in between 0.50 to 0.59

Woh Lamha

The song begins with a penetrating groovy Arabian instrument tune piece in unplugged mode that has a similar feel to the Arabian instrument used from 1.54 to 2.02 in VA VA THALAIVA from BOMMALATTAM, along with subtle croons from 0.04 to 0.10

The new-age daffli effect joins in from 0.11 to 0.23

Himesh just hits it the Pakistani Rock way from 0.24 to 0.26 with off-da-hook heavy quick raw drum hit pattern that suddenly changes the song's tempo from a laidback proceeding, that were inspired from 2.53 to 2.55 & 4.12 to 4.14 from SISAK SISAK KE in terms of overall intended effect (not da actual pattern!).

From 0.26 to 0.34, the groovy rhythmic beats that kick in along with an underlying constant synthetic bazz sound and off-da-hook fluctuating wicked rebel funky sound followed by repetitive Arabian croons build up the song tremendously.

Himesh's line, WOH LAMHA (terrific subtle feel gives halke se kick) from 0.35 to 0.37 gets the listener into da zone.

He really plays with listener's pulse and delivers the vocal kill effect with PHIR (off-da-hook feel) SE from 0.39 to 0.40

Himesh's line, JEENA HAAI (terrific prolonged sooth feel twist) from 0.41 to 0.43, 0.53 to 0.56 & 1.37 to 1.39 (off-da-hook).

The pleasantly likeable violin piece from 0.43 to 0.47, 0.57 to 0.59, 1.06 to 1.07 & 1.39 to 1.42 conveys the emotional desperation feel.

Himesh's line, HAAAAI (passionate emphasis singing) AAAAI (awesome prolonged feel twist) from 1.03 to 1.06 & 1.29 to 1.32

The simple and effective repetitive lines from 1.08 to 1.16 have himesh's high-pitched forceful emphasis singing.

Himesh kills it from 1.18 to 1.20 with OFF-DA-HOOK heavy quick raw drum hit pattern that sets the adrenaline rushing.

Jayesh's fresh descending croons from 1.21 to 1.25 give a serene exotic feel.

The 3 key (2 notes down gap) continuous faint tune sur from 1.32 to 1.34 gives terrific overall effect.

Between mukhda & 1st stanza, feel good guitar riffs play along with underlying synthetic bazz sound that builds jazba followed by repetitive Arabian croons and passionately intense violin piece.

1st stanza

Harshdeep's deep haunt feel vocals go the loungish nostalangic LUT JAUN (KARZZZZ) way, whereby her line MEIN (up twist) from 2.15 & 2.23, SA-RA (up twist) at 2.32 has a similar feel to her line TUM-SE at 0.50

Her well structured lines, REHE NA (gradual feel good voice rise) AAA (prolonged feel, build up part) from 2.17 to 2.19, KEHE NA (gradual feel good voice rise) AAA (prolonged feel, build up part) from 2.34 to 2.38 & line, REHE (subtle low feel twist) NAAAA (completeness effect) from 2.25 to 2.28

From 2.13 to 2.38, the constant underlying bazz sound builds jazba whereas the awesome intermittent passionate violin tune sur enhances the desperation feel.

From 2.38 to 2.58, himesh - the singer scores big time and breaks new ground with commendable middle octave restrained singing, hats off!

He builds jazba from 2.38 to 2.46, with emphasis on MERI (awesome profound middle octave impact) from 2.38 to 2.39 & 2.47 to 2.48, BHARRRRR (prolonged) RRRR (awesome low twist) from 2.43 to 2.46

He then delivers the killer punch with raw heavy quick drum hit pattern along with profound middle octave gradually rising notes from 2.48 to 2.52 that gives tremendous kick.

He backs this up with line BHAAAR (terrific prolonged passionate emphasis singing whereby total jazba at its peak is felt with rush of adrenaline) from 2.52 to 2.55, a feeling of

From 2.56 to 2.58, RR-RR (awesome 2 step low twist) is similar to line SUROO-OO-OR (awesome 2 step low twist) from 2.26 to 2.28 & 5.43 to 5.46 in TERA SUROOR from AAP KA SUROOR.

A special note from 2.52 to 2.57, whereby his vocals resonate at that specific pitch range and become heavy alienish (off-da-hook tonal quality!), coupled with sudden abrupt twists-n-turns and fluctuating bazz sound give an impression of an accelerating car changing quick lanes.

From 2.56 to 3.00, repetitive high-pitched catchy intense violin flicks play along with gradually rising feel good guitar riffs.

Himesh's line, LAMHA-AAAA (terrific profound raw emphasis twist) from 3.02 to 3.03 followed by off-da-hook raw heavy drum hit pattern that gives sahi desired effect.

Between 1st & 2nd stanza, the Arabian tune piece along with new-age daffli effect is joined in by Arabian desperation plea croons. By the time the hard and sharp underlying beats kick in from 3.44 onwards and joined in by groovy jazba building synthetic bazz sound from 3.58 to 4.01, the listener visualizes quick camera rotational angles capturing a posh car with reverse alloy rim spins across serene exotic rugged mountaneous ocean terrain whereby herioine's chunni is flying all over the chilled-out windy place.

2nd stanza

Harshdeep's deep haunt feel vocals go the loungish nostalangic LUT JAUN (KARZZZZ) way, whereby her line DEK-HE (up twist) from 4.03 to 4.04, SII-III (up twist) from 4.12 to 4.13, SOC-HU (up twist) from 4.21 to 4.22 has a similar feel to her TUM-SE at 0.50

Her well structured lines, AAKHIYAAN (gradual feel good voice rise) AAA (prolonged feel, build up part) from 4.06 to 4.09 & RAATHIYAAN (gradual feel good voice rise) AAA (prolonged feel, build up part) from 4.23 to 4.27 & line BAA (awesome halke se low feel twist) THI YAAN (completeness effect) 4.14 to 4.18

From 4.02 to 4.27, the constant underlying bazz sound builds jazba whereas the awesome intermittent passionate violin tune sur enhances the desperation feel.

From 2.38 to 2.58, himesh - the singer scores big time and breaks new ground with commendable middle octave restrained singing, hats off!

He builds jazba from 4.28 to 4.35, with emphasis on TERE AAGOSH (profound middle octave impact) from 4.27 to 4.29, KEEEEEE (prolonged gradual nazal deepening) EEE (awesome low twist) from 4.33 to 4.35

He then delivers the killer punch with raw heavy quick drum hit pattern along with profound middle octave gradually rising notes from 4.37 to 4.40 that gives tremendous kick.

He backs this up with line KEEEEE (terrific prolonged passionate emphasis singing along with fluctuating bazz sound whereby total jazba is felt at its peak with rush of adrenaline) from 4.41 to 4.44, EE-EE (awesome 2 step low twist) from 4.45 to 4.46 is similar to line SUROO-OO-OR (awesome 2 step low twist) from 2.26 to 2.28 & 5.43 to 5.46 in TERA SUROOR from AAP KA SUROOR.

From 4.46 to 4.50, repetitive high-pitched catchy intense violin flicks play along with gradually rising feel good guitar riffs.

The 3 key (2 notes down gap) continuous faint tune sur from 5.14 to 5.16 gives terrific overall effect.

Himesh's line, HA (off-da-hook sooth feel twist) AI from 5.20 to 5.22

The song finishes with violin echo effect.

Highlights of this song:

1. Himesh's off-da-hook passion emphasis singing with prolonged sooth feel twists, with profound middle octave impact in stanzas.

2. Harshdeep's deep haunt feel vocals with goonj.

3. Arabian desperation plea croons and Jayesh Gandhi's fresh gradually descending croons.

4. Penetratingly groovy Arabian tune, new-age daffli effect, off-da-hook heavy quick raw drum hit pattern, feel good guitar riffs, passionate intense violin flicks, underlying free-flowing rhythmic beats, off-da-hook funky fluctuating sound effect in mukhda and underlying constant bazz sound in stanzas that gives jazba.

This is a path breaking melody with a serene touch.

Sanu Guzra Zamana

Ustad Himesh Reshammiya is at the helm of affairs.

The song begins with Sunithi's subtle feel croons followed by himesh's soothing feel vocals in unplugged mode.

From 0.21 to 0.43, the awesome penetrating Rajastani folk raga theme piece having a saddistic feel which connects emotionally, builds up the song.

The fast-paced tabla beat effect gives perfect kickstart to underlying tabla beats that kick in from 0.32 onwards, thus justifying the semi-classical nature of song.

From 0.44 onwards, the catchy repetitive Indian string based tune piece is joined in by terrific male classical desperation plea alaaps from 0.47 to 0.54

From 0.55 to 1.18 & 1.53 to 2.11, himesh's composition and singing style have a deja-vu feel to lines from 1.35 to 1.48 in DHOOM TERE ISHQ KI from KARZZZZ, as if he is narrating a story by talking to listener.

The tune of himesh's core mukhda lines SANU GUZRA ZAMANA YAAD AAGAYA from 1.25 to 1.34, 1.42 to 1.52 & 2.17 to 2.26 is inspired from the core mukhda lines TUM DIL ME REHTE HO AE SANAM from 1.07 to 1.16 in DHADKAN HO GAYEE from JULIE.

The 'pattern' of fast-paced tabla beats to give sahi desired effect from 0.30 to 0.31, 1.44 to 1.45, 2.18 to 2.19 to 1.52 was similarly used intermittently from 1.40 to 1.41 in BINDIYA CHAMAKNE LAGI from DIL NE JISE APNA KAHA and from 1.08 to 1.09 in DHADKAN HO GAYEE from JULIE.

From 1.36 to 1.41, himesh goes into lower octave with subtle feel and thehrav.

Himesh's lines, KISA PURANA (typical Punjabi emphasis) from 2.11 to 2.13

Between mukhda & 1st stanza, the penetrating Rajastani folk raga theme piece that depicts a sense of helplessness is joined in by awesome intermittent male classical desperation plea alaaps.

The intermittent raga tunes through out the mukhda give awesome tune sur.

1st stanza

From 3.05 to 3.11, himesh sings in middle octave with subtle feel innocence.

From low to high pitch, himesh is a master of such.

He goes fulltu from 3.13 to 3.18 with high pitched emphasis singing in lines, KOOO (arrogant feel dying effect) & MEIN (profound emphasis).

From 3.19 to 3.24, he once again proves a point with super lower octave vocals (biggest weapon of Sufi-Rwak voice used exclusively / selectively) that his range as a singer can never ever be doubted and also the ease with which he adapts in sudden abrupt pitch variations.

Himesh's repetitive lines from 3.25 to 3.37 is a bandish affair.

He takes a prolonged high-pitched alaap with lines BHULA GAYA-AAAAAAAA (prolonged twists-n-turns) from 3.38 to 3.43, AAAA (terrific profound up twist) from 3.43 to 3.44 was similarly used in line MAANI HA-AAAAAA (prolonged)-AAAI (terrific profound up twist) from 3.47 to 3.50 in SACHE AASHIQ from SHAADI SE PEHLE, line ADA-AAAA (profound up twist) from 2.55 to 2.56 & JAGA-AAA (profound up twist) from 4.18 to 4.19 in AADAT HO CHUKI from KOI AAP SA.

The intermittent raga tunes through out the stanza give awesome tune sur.

Between 1st & 2nd stanza, a well structured repetitive laid back string based Indian instrument plays on awesome scale from 4.20 to 4.43, along with synthetic beat skips. A Pakistani tune that is used in Punjabi sad songs plays from 4.44 to 4.49 followed by an emotional violin piece.

2nd stanza

Versatile Sunithi proves her mettle of adaptability once again.

She sings with deep alto vocals on a lower scale, with emphasis on line SEEEEE (prolonged slight voice deepening) from 4.56 to 4.58 & 5.05 to 5.07

Her repetitive lines, RULA GAYA (awesome emotional feel depicted by deliberate voice crack) from 5.10 to 5.21 depict the saddened state of herione.

Himesh continues his bandish mode with repetitive lines from 5.22 to 5.34

Sunithi expresses herself with line, RULAGAYA-AAAAAAAAA (awesome prolonged twists-n-turns with voice deepening) from 5.35 to 5.42

She continues to impress with her low alto vocals from 5.42 to 5.59

The intermittent raga tunes through out the stanza give awesome tune sur.

The song ends with the penetrating Rajastani folk raga theme piece with saddistic touch.

Highlights of this song:

1. Himesh's emphasis singing with subtle feel, with special mention for killer lower octave vocals especially from 3.19 to 3.24

2. Versatile Sunithi's low alto deep vocals with voice deepening to fully express the heroine's emotions.

3. Awesome male classical croons.

4. Underlying laidback tabla beats, fast-paced tabla hits for sahi desired effect, awesome penetrating Rajastani folk raga theme piece with saddistic touch, Indian string based instrument tune and Pakistani (punjabi) flavored instrument tune.

This song is capable of somewhat emotionally depressing the listener primarily due to the penetrating Rajastani folk raga theme piece and Sunithi's vocals in 2nd stanza that depicts the heroine's side of story.

Himesh's singing style in mukhda and composition style in stanzas (with sudden pitch variations between high pitch and lower octave) is inspired by DHOOM TERE ISHQ KI from KAZZZZ.

Verdict

This album has:

3 mass numbers i.e. Rabba Luck Barsaa (path-breaking melody, best song of album), Woh Lamha Phir Se Jeena Hai (path-breaking melody) and Kajra Kajra Kajraare.

Himesh goes back to his old Sufi Rwak antics that made him such a rage and with which he generated tremendous mass hysteria.

In these songs, Himesh scores by HITTING it real GOOD / HARD with heavy music arrangement and TOTALLY KILLS it by going the Old school way of heavy raw drum hit effect:

> From 0.59 to 1.01 in Kajra Kajra Kajraare.
> From 1.46 to 1.47 in Rabba Luck Barsaa.
> From 0.24 to 0.26 in Woh Lamha.

I just cannot congratulate him enough for the above and fans should be indeed be very proud of this fact, beause they succeed in giving give tremendous kick and set the adrenaline flowing. Sahi desired timing effect just cannot get better than this, while also considering the fact that his sufi-rwak vocals and heavy orchestration are already a KILLER COMBO.

3 class numbers i.e. Afreen Afreen, Teriyaan Meriyaan and Sanu Guzra Zamana.

They are well structured compositions with a carefully laid out semi-classical music arrangement. Himesh scores by putting heart into his singing and trying to emotionally connect whereby the listener can symphatize and associate with him.

1 experiment in composition / singing in Tujhe Dekh Ke which is a Rajasthani Folk song and rather situational.

High points as a composer:

> Caters to the backdrop of project to create melodies with good Arabian / Middle Eastern flavor that can do full justification to exquisite breath taking never before seen locales.

> Uses variations in form of subtle seductive feel male / female croons and male classical croons.

> Uses Harshdeep Kaur's vocals to maximum potential and Shreya Goshal's vocals for chill pill refreshing feel.

> Echo effect for that serene out door feel.

High points as a singer (apart from usual sufi-rwak):

> History middle octave echo croons (truly path breaking) from 0.17 to 0.25 & 4.28 to end in Kajra Kajra Kajraare.

> Profound middle octave impact vocals from 2.38 to 2.50 & 4.27 to 4.40 in Woh Lamha.

> Off-da-hook heavy alienish tonal quality from 2.52 to 2.57 in Woh Lamha.

> Middle octave subtle feel alaap OOOOOO and off da hook middle octave echo croon from 1.07 to 1.10 in Rabba Luck Barsa.

> Middle octave desperation plea vocals from 3.30 to 3.10 & 4.34 to 4.48 in Tujhe Dekh Ke.

> Lower Octave from 3.19 to 3.24 in Sanu Guzra.

Obstacles and Limitations:

No matter how good any album is, if it is going to have a fixed male playback singer then there is a limitation in terms VARIETY / VARIATION. Having said this, he should be wary and cautious to avoid singing more than 1 solo or at most 2 solo numbers in any entire given album to avoid stagnation like what happened near 2006 end, considering that occasionally his songs have stereotyped repetitiveness.

This is where Himesh opts to throw in a mix of soft semi-classical numbers. But the more such stuff he includes, the more he risks to only cater & appeal to a lesser segment (i.e. elite, purists). Considering the fact that in bits-n-pieces they have a deja-vu feel & somewhat repetitive lyrics from his earlier such compositions, it would be interesting to note now much shelf-life these songs have after repeat hears over time i.e. do their initial sensations fade away over time, their BIGGEST TEST. The trending norm suggests that class is inversely proportional to mass who have limited patience with such songs which often gets critical acclaim but doesn't guarantee commercial appeal, which is what happened to semi-classical songs of RADIO.

In terms of vocals, himesh takes a risk / gamble in mukhda lines of Tujhe Dekh Ke and Teriyaan Meriyaan.

Conclusion:

The biggest USP of the album is that it is one of the most SOULFUL Himesh albums in post ABA era, courtesy due to Afreen, Tujhe Dekh Ke Armaan Jaage, Sanu Guzra Zamaana original n reprise, which strike an emotional chord n pull the heart strings of the listener. Even songs like Rabba Luck Barsa, Woh Lamha and Teriyan Meriyaan have elements of pain, tadap n desperation plea. These songs have an underlying soul in them. In fact, the only song offering a fun filled jovial mood is the title trax, while the remaining tracks are intense which depict the purpose and cause of the lovers to get united.

This album is blessed to have Rabba Luck Barsaa which in its own self has the ammunition & firepower to be in the aam junta's face to raise their eyebrows outta curiosity. But this time around, it is not just a one song affair (i.e. Tandoori Nights becoming a youth anthem & Mann Ka Radio topping the charts). The real bonus would be if the 3 semi-classical songs blend into storyline & emotionally connect, then class could also well turn into mass.

My Picks

1. Rabba Luck Barsa (one of himesh's best ever sung n composed songs)

Himesh's starting off-da-hook middle octave croons from start to 0.20 have an Arabian feel. The Arabic instrument from 0.21 to 0.31 gets is penetratingly catchy. Mahesh Bhatt's thehrav vocals are re-assuring. Himesh's line, RABBA LUCK BARSA from 1.07 to 1.10 cause pricking sensation (chubban ka ehsaas), MAHIYA SE DEEDAR KARADE (halke se feel) from 1.15 to 1.18 & 1.26 to 1.28. Off-da-hook drum hit pattern from 1.47 to 1.48. The rhythmic beat with heavy hit pattern from 1.48 onwards. Himesh's line, KARADE (off-da-hook desperation plea vocals) from 1.57 to 1.58. Off-da-hook profound drum hit pattern from 2.42 to 2.43. Himesh's lines in 1st stanza, TERI (fulltu high-pitched) from 2.43 to 2.44, DARDE (fulltu high-pitched) at 2.54, SAJADE - EEE (terrific high-pitched intense vocals, waah kya sur pakda hai!) from 3.09 to 3.10, MAAHIYA SE DEEDAR KARADE (terrific passionate desperation plea) from 3.24 to 3.26. Off-da-hook quick beat skip from 3.30 to 3.32 gives kick. Himesh's lines in 2nd stanza, SAATH MERE (fulltu high-pitched) from 4.01 to 4.02, RAAHAT RAAHAT (fulltu high-pitched) from 4.12 to 4.13, BOOND BIKHRADE (desperation plea) - EEE (terrific high-pitched intense vocals, waah kya sur pakda hai!) from 4.27 to 4.28. The underlying rhythmic beat is in full form from 4.58 onwards, cult stuff in terms of its hit pattern. 

the camel seems very comfortable in Himesh's presence and with his company

2. Kajra Kajra Kajraare (best ever heavy orchestration till date in a himesh sung n composed song)

Himesh's BEST EVER 'sung n composed' song in terms of HEAVY ORCHESTRATION. Himesh's HISTORY middle octave croons KAJRA-RA-RA (with echo effect) from 0.17 to 0.25. Sunithi's feel good rap lines, ROCK IT YEAH WOO MOVE IT NOW from 0.53 to 0.56 drive da listener berserk. The profound heavy DRUM HIT from 1.00 to 1.01, 1.38 to 1.39 and so on gives TREMENDOUS KICK. The underlying heavy beat pattern that SPINS IN AN OFF-DA-HOOK REPETITIVE LOOP from 1.23 onwards is Himesh's BEST EVER heavy beat pattern in post ABA era till date, with empahasis from 1.47 to 1.50 which gives HELL LOT OF SIKE. Himesh's lines, KAJRAAAA (profound up twist gives KICK) RE from 1.13 to 1.14, 1.16 to 1.17 and so on. Himesh's lines, NA MEIN JAAGA NA MEIN SOOYA TUJH KO DEKH KE SUD BUDH KHOYA from 1.51 to 2.01 have his ubber rwakin nazal twang. Himesh's line, GAYA (awesome twist) at 2.56 & 2.59. OFF-DA-HOOK continuous groovy ambient sound from 4.29 till end, along with Himesh's HISTORY middle octave croons KAJRA-RA-RA (with echo effect). The song has HISTORY heavy orchestration whereby Himesh decided "Ok, now I am going to absolutely KILL IT and HIT IT REAL GOOD / HARD in this one". This song is meant to be played at full blast to test out da woofers. 

Himesh's line, Kajra-Kajra-Kajra-Kajra (historic out of the world middle octave echo vocals) from 0:15 to 0:23 & 3:23 to end, really strikes a chord...is killer Tone mein kya 'khanaak' hai. Video version sounds catchier because it has higher scale than audio version in original soundtrax. 

3. Woh Lamha Phir Se Jeena Hai

Himesh kills it from 1.18 to 1.20 with OFF-DA-HOOK heavy quick raw drum hit pattern that gives sahi desired effect. In between 2nd stanza gap, the combo of Arabic male croons and underlying beat effect from 3.45 to 4.02 is representative of a porshe car with reverse alloy rim spin on a mountaneous track regin with Heroine's chunni flying all over. The song's graph REACHES ITS PEAK with Himesh's lines, RAAT BHARRRRRRRR (prolonged twists n turns with HEAVY ALIENISH VOICE) from 2.52 to 2.57 in 1st stanza, and his lines JHOOM KEEEEEEE (prolonged twists n turns) from 4.41 to 4.47. Himesh's line, KEEEAAAEEEN (OFF-DA-HOOK prolonged nazal deepening effect) from 4.33 to 4.35

4. Afreen (one of himesh's best semi-classical sung n composed songs)

It is Himesh's most SOULFUL 'sung n composed' song in the post ABA era.

The Indian string based classical instrument with majestic QUICK BOUNCE effect from 0.02 to 0.18 & 0.51 to 0.55 is a musical treat to purists and it brings pleasant thehrav to da proceedings. Himesh's line, TOSE (OFF-DA-HOOK fulltu high-pitched) from 0.56 to 0.57 & 1.18 to 1.19, LADAAYI HAINNN (literally pours his heart out) from 1.04 to 1.08 & 1.23 to 1.27. Himesh's core mukhda tag lines, AFREEN AFREEN from 1.35 to 1.53 are well structured. Himesh's line in 2nd stanza, HAIN (ustad emphasis) from 5.46 to 5.47 & 5.53 to 5.54. Harshdeep kaur HITS A SIXER and kills it with her part towards the end which leaves the listener gutted, with emphasis on her lines LADAAYI HAIN - NN - NN -NN (terrific gradually descending subtle twist) from 6.04 to 6.07, MERI JAAN (OFF-DA-HOOK fulltu high-pitched delivers VOCAL KILL effect) from 6.08 to 6.10, AAAAA (profound quick twists having tadap and kashish of a dying soul, OFF-DA-HOOK from 6.19 to 6.20) FREEN * 4 from 6.14 to 6.26

The mukhda showcases a mix of Himesh's full on Sufi Rwak singing whereby he pours his heart out in lines JAB SE TOSE AAKHIYAAN LADAAYI HAIN n self composed singing with thehraav whereby he goes inner soul searching in core repetitive mukhda hook AFREEN * 4. The 1st stanza is a build up of for the 2nd stanza, whereby Himesh showcases his ustaad style emphasis singing in 2nd stanza, especially in line HAAIN. Song reaches its highest peak upon arrival of Harshdeep's historic vocals whereby Himesh - the composer reserves the best for the end by delivering the vocal kill effect after gradually building up the song throughout. It is one of Himesh's best semi classical 'sung n composed' songs n one of Himesh's most soulful song in post ABA era whereby both male n female singers deliver an 'internal konnekt.

Apart from being one of Himesh's most soulful numbers, the main USP this song is the build up by Himesh's thehraav singing with lower / middle octave vocals, especially the repetitive mukhda hook AFREEN *4 in lower octave, and the kill effect when the same hook is sung by Harshdeep in high pitch n also the lyric...Jabse Tose Aakhiyaan Ladaayi Hain, Meri Jaan Pe Ban Aayi Hai...which causes a total konnekt with the listener...in short, Himesh gradually delivers the 'build up' effect throughout the song n Harshdeep nails down the song with the final 'kill effect' towards the end of song. It has thehraav singing by Himesh in most parts (his lower n middle octave lines in mukhda n stanzas) n laidback semi classical instruments., but proceedings gradually build up n intensify as the song approaches the end of 2nd stanza, with arrival of Harshdeep's vocals which deliver the kill punch n sike up the listener in doing so.

jab se tose aakhiyan ladaayi hai, meri jaan pe ban aayi hai

5. Tujhe Dekh Ke Armaan Jaage

Unlike some other instantly catchy songs in the album, this is the 'chuppa rustam' song that grows upon da listener upon repetitive hears. Underlying rhythmic laidback beat was similarly used from 0.29 to 0.47 in OH OH SANAM from DASHAVATAR. In terms of melody, stanzas are better than da mukhda whereby Himesh's BEST vocals from 2.56 to 3.06 that TOTALLY KONNEKT with da listener, with emphasis on his lines MERA (HISTORY desperation feel) from 2.57 to 2.58, ME HAI (HISTORY desperation feel) from 3.04 to 3.05 along with awesome guitar riffs at 3.00 (lower note) & 3.03 (higher note) in 1st stanza, and lines TUM (HISTORY desperation feel) from 4.36 to 4.37, DIL KI (HISTORY desperation feel) from 4.43 to 4.44 along with awesome guitar riffs at 4.39 (lower note) & 4.42 (higher note) in 2nd stanza. Shreya compliments Himesh very well with her mystic CHILL PILL vocals. Himesh's lines, MEEEE (terrific emphasis vocals) from 4.39 to 4.40, MHARA (off-da-hook arrogant feel emphasis vocals, giving it Rajasthani folk touch) from 4.55 to 4.57

There is something 'out of the world' about this song which has a 'divine konnekt', because its stanzas take the listener through the journey of eternal love towards the doorsteps of heaven.

jab kabhi dekhoge tum apne dil mein, me hi milunga dil ki mehfil mein

In its music video, the visuals on Himesh's lines, TU HI JAHAAN MERA TU HI AARZOO, MERE LAMHATON ME HAI from 1.52 to 2.02, whereby he walks by the pool side (with his shadow in it) with the ocean on his other opposite end, the overall mood, vibe and ambience is so serene, and the matching color of his shirt, pool and ocean that give an 'aqua' theme, the bright light in da sky in da backdrop as he walks from 1.58 to 2.00 gives an estatic imaginary feel as if da staircase of heaven will unfold beneath and will take da viewer to its doorstep, seedha jannat mein. In a nutshell, da audio visuals from 1.52 to 2.02 are an OUT OF DA WORLD experience that give a feel as if da viewer is at da doorstep of heaven i.e. a staircase of heaven will unfold beneath the bright light towards the right hand side in da backdrop. This song is best heard at 'dusk/sunset' to feel the overall laidback serene mood n ambiance, especially in the stanzas which have Himesh's 'history' desperation plea vocals that konnekt.

This is the most DIVINE song ever of Himesh, in the sense that it is not really the catchiest or most melodious song of his as such, but Himesh's singing n orchestration in the stanzas are out of this world. This is the closest any of his 500+ songs can come close between Earth n doorstep of Heaven as far as a divinity of a song is concerned.

Himesh's line, RAJHNA RE-EEE (desperation feel tadapti hui Aah) from 0:07 to 0:08, TERE BINA RE-EEE (desperation feel tadapti hui Aah) from 0:12 to 0:13, off-da-hook emotional feel raga tune with echo effect from 0:44 to 0:47 gets to listener...Himesh's line, RABBA JAANE, MAAHE RUBA (descending composition), JAANE HOGA KYA (descending composition) along with awesome continuous Sufi tune from 1:30 to 1:35, AAGE (with off-da-hook killer emotional feel raga tune that gets to the listener) from 1:35 to 1:37...off-da-hook guitar riffs in stanzas at 2;39, 2;42, 2:44 and so on catch the listener's pulse and Himesh's stanza lines melt away and gut the listener...underlying beat and overall orchestration gives serene mystic feel and takes listener to unknown isolated tropical, mystical exotic places.

6. Sanu Guzra Zamana

The sad folk tune from 0.21 to 0.43 has an emotional connect. The fast-paced tabla hit pattern from 0.30 to 0.32 gives sahi desired effect throughout the song. Himesh's BEST LINE in the song is in 1st stanza, BHULAGAYA-AAAAAA (prolonged high-pitched) from 3.38 to 3.42, AAAA (OFF-DA-HOOK intense emphasis up twist) from 3.43 to 3.45

7. Teriyaan Meriyaan

The Indian string based classical instrument with majestic QUICK BOUNCE effect from start to 0.15 & 2.40 to 3.05 is a musical treat to purists and it brings pleasant thehrav to da proceedings.

Upon listening this song, the listeners feel as they are in hilly n slopy outfields with ample greenery n lush green grass n various flowers with different types of colors n species, n mystic waterfalls flowing in between them with rocks n pebbles on the sides, along with ducks, beautiful birds n butterflies...a laidback cool remote isolated countryside ambience which has untouched uninvaded pristine beauty with fresh blast of air n minty atmospheric smell.

Remixes

Sanu Guzra Zamana - Lounge Mix

The starting instrumentals and male/female vocals from 0.00 to 0.23 gives a feel as if da souls of lovers meet at da doorstep of heaven after they have left their respective bodies. In that sense, this part has an emotional konnekt as if to signify that janam janam ke saathi agar zameen par na mil sake, toh aakhir jannat me zaroor milenge aur ab kabhi juda nahi ho payenge...and they recollect all their good and bad memories up there that they spent on earth i.e. sanu guzra zamana yaad aagaya...kissa purana yaad aagaya...bhula gaya (1st stanza)...rula gaya (2nd stanza). It does actually leave da listener GUTTED, depending on da mood they are in at da time of hearing this desperation plea song, as it has full of tadap, kashish n ehsaas of a lifetime bond between two estranged lovers that could not unite on earth, but cannot be separated in heaven.

Himesh's STANDOUT lines are BHULA GAYA BHULA GAYA * 2 (lower octave vocals) from 3.34 to 3.39 that get da listeners into da zone n makes them feel it, and GAYA-AAA (quick intense emphasis up twist) from 3.58 to 3.59 that konnekts.

Mahesh Bhatt's take on Himesh

Bhatt saab said in a recent interview that "Himesh is somebody for whom i have a great warm feeling towards, i wouldn't hesitate to grab an opportunity n work with him as soon as he or me get together and decide to do it".

The Bhatts have one of the greatest sense of music in the Bollywood industry and they produce high quality soulful music from their camp, their music is just in an altogether different zone in terms of its mood n feel. In fact, KAJRAARE album happens to be HR's most soulful album in post ABA era.

Now Mahesh Bhatt has given his signal n shown his willingness to work with Himesh again, hope that something materializes n Himesh works with the Bhatts again.

BHATTS - EMRAAN - HIMESH combo can be one of the ultimate deadliest super hit combo, and Mahesh Bhatt can get the best out of Himesh as a composer, n Himesh's past record for Emraan Hashmi speaks for itself with chartbuster albums like Aashiq Banaya Aapne and Aksar.

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