Nanhe Yaar

This is a very pure Indian composition true to its roots after a long time by Himesh. It has a strong aroma of soil of native Rajashtan.

Boy oh boy, Himesh puts his ego issues aside and lets Sonu (who is tailor-made for this song) croon this one and a step ahead by giving him the full lead.

The song begins with paayal chimes and string tune piece.

Sonu's subtle sooth feel lullaby adlip HE-HE-HE composed using 3 key notes from 0.11 to 0.38 is catchy.

Sonu's line, bahAAAAAAAAR (prolonged quick desperation plea up twist) at 0.59, yaaAAAAAAAAR (prolonged quick desperation plea up twist) at 1.13

The underlying free-flowing beats are totally representative of Indian setting.

Sonu, HE HE HE (catchy high pitch croons) from 1.23 to 1.41

The quick ascending / rising piano flick from 1.41 to 1.43 was used often in pre-ABA love duets e.g. from 0.20 to 0.23 in BHOOL JAAYENGE HUM from KUCH MEETHA HO JAAYE.

The 3 additional hits from 1.44 to 1.45 give good kick-start to the mukhda.

The cute sounding traditional instrument from 1.56, 2.00, 2.10, 2.15, 2.20, 2.24, 2.34 & 2.39 gives great tune sur.

Between mukhda & 1st stanza, a string tune piece with inherent twist (often used as theme piece in pre-ABA songs) from 2.41 to 2.59 is followed by grand trumpet piece from 3.01 to 3.10

1st stanza

The 3 additional hits from 3.11 to 3.12 kick start the stanza.

The trumpet tune sur at 3.22, 3.24 & 3.26 gives good effect.

The continuous 'haunt feel' tune sur behind the lines, TERA MERA RISHTA AISA is CRITICAL to enjoy the stanza especially at TERA MERA (rising tune sur at 3.32) RISTHA AISA (rising tune sur at 3.34).

From 3.40 to 3.45, TUME SE HAI (normal note) TUMI SE HAI (higher note) TUMI SE HAI (highest note) MERA KARAAR (completeness effect) is the BEST part of song and the pattern is inspired from the same point in stanzas of YEH DIL TOH MILA HAI – DIL NE JISE AAPNA KAHA. Good old pre ABA himesh is back!

The tune sur in remaining stanza lines is the key. The repetitive keys from 4.03 to 4.07 are of good cause.

Sonu's line, HANH - EEEE (awesome desperation emphasis plea twist) from 4.07 to 4.08

Between 1st & 2nd stanza, a repetitive well-structured mouth organ piece plays from 4.11 to 4.30 followed by a likeable traditional flute piece (high scaled) from 4.31 to 4.40 and intense classical raga instrument tune from 4.41 to 4.49

2nd stanza

The 3 additional hits from 4.51 to 4.52 kick start the stanza.

The trumpet tune sur wherever heard is the key.

Sonu's line, tode se TUTEEEE (awesome passionate emphasis) at 4.56

The continuous 'haunt feel' tune sur behind the lines, KOI JALE TOH JALTA JAAYE HUM PE is CRITICAL to enjoy the stanza especially at KOI JALE TOH (rising tune sur at 5.12) JALTA JAAYE (rising tune sur at 5.14).

From 5.19 to 5.25, TERE LIYE (normal note), ME UTAHALU (higher note), DUNIYA KE (highest note) DARD HAZAAR (completeness effect) is also the BEST part of song and the pattern is inspired from the same point in stanzas of YEH DIL TOH MILA HAI – DIL NE JISE AAPNA KAHA. Good old pre ABA himesh is back!

The traditional string tune sur and repetitive keys is the key till the end.

The song finishes with an intense raga tune in unplugged mode.

Highlights of this song:

1. Sonu's soothing feel vocals.

2. The underlying free-flowing traditional beats, the 3 additional hits to kick-start both the mukhdas and antaras and old himesh-styled quick rising piano key flick.

3. The string and trumpet tune sur throughout the song, the continuous tune sur in the stanzas wherever mentioned, repetitive well-structured mouth organ piece, likeable traditional flute piece and intense raga tune.

4. The rising note pattern in ending of stanzas (best parts of song) that is inspired from stanzas of YEH DIL TOH MILA HAI at similar portions.

This song shows traces of Himesh - the pre ABA composer who is in his elements.

In terms of orchestration, this song has some typical pre ABA instrumentals i.e. quick haunt feel keys from 1.41 to 1.43, 3.59 to 4.01 & 5.39 to 5.41 feel good guitar riffs (with inherent twist) from 2.41 to 2.59 and laidback drum hits from 2.07 to 2.08, 2.18 to 2.19, 2.33 to 2.34 &

Ulfat

The focus in this hard core Sufi Rwak stage number is more on the rhythm (rather than on the melody) for a power packed outing which gives jazba and foot tapping kick to da listener.

It begins with wicked vibrant funky guitar followed by whoosh sound from 0.04 to 0.05 along with audience cheers from 0.06 to 0.14

The laidback rhythmic beat pattern kicks in from 0.17 onwards along with Himesh’s prolonged alaap along with intermittent raga tune from 0.21 to 0.24 & 0.29 to 0.31, which marks da grand entry of da rwakstar on stage.

Two heavy drum hits from 0.38 to 0.40

The continuous vibrant metal guitar returns in unplugged mode from 0.43 onwards along with Himesh’s build up vocals.

The raga piece plays from 1.15 to 1.22 along with semi plugged beats.

The song gains momentum when the underlying beats with a HARD hit pattern kick in from 1.23 onwards along with audience cheers from 1.27 to 1.31 and funky guitar piece from 1.32 to 1.45

Himesh’s line, JAANA MERI TU (off-da-hook catchy) from 1.50 to 1.52 & 2.16 to 2.17

Off-da-hook additional quick heavy beats from 2.01 to 2.03 & 2.27 to 2.29 followed by full on heavy beats from 2.03 & 2.29 onwards give foot tapping kick whereby da song becomes rwakin whereby the KO punch line comes from the core mukhda tag line DIL KE RUBARU HAAN RUBARU.

Between mukhda & 1st stanza, funky guitar piece plays from 2.37 to 2.51 followed by raga tune from 2.51 to 2.58 and joined in by audience chants.

1st stanza

Himesh’s vocals are sike  / jazba giving, with emphasis on lines TERI TALAASH HAI (off-da-hook repetitive echo effect) from 3.01 to 3.05, TERA EHSAAS HAI (off-da-hook repetitive echo effect) from 3.08 to 3.13

Himesh’s lines in unplugged mode from 3.13 to 3.24 are typical Sufi Rwak, and his line TU AARZOOOOO (prolonged alaap) from 3.22 to 3.25 is much like offering a Muslim player.

Between 1st & 2nd stanza, the full impact of the heavy hit pattern from 3.44 to 3.51 is on display, followed by funky guitar piece from 3.51 to 4.05

2nd stanza

Himesh’s vocals are sike  / jazba giving, with emphasis on lines  (off-da-hook repetitive echo effect) from 4.07 to 4.09, YAADON KI MEHFILEE (off-da-hook repetitive echo effect) from 4.17 to 4.20

Himesh’s lines in unplugged mode from 4.20 to 4.32 are typical Sufi Rwak, and his line TU AARZOOOOO (prolonged alaap) from 4.28 to 4.32 is much like offering a Muslim player.

Himesh’s lines, RUBARU HAAN RUBARU (OFF-DA-HOOK arrogant feel vocals that give jazba) from 5.12 to 5.15 & 5.19 to 5.24

The song ends with Himesh’s ustad arrogant feel emphasis vocals from 5.28 onwards, and since this song is all about demanding his right for love in a saddistic cult angered manner rather than politely requesting it, to rightly depict this effect, one can also note the anger and arrogance in Himesh's vocals especially in the end when the song gets unplugged, as if to imply, give it to me or else I will snatch it, you are mine i.e. ulfat ulfat jaana meri tu.

Highlights of this song:

1. Himesh’s arrogant feel vocals, with emphasis on lines, JAANA MERI TU (off-da-hook catchy) from 1.50 to 1.52 & 2.16 to 2.17, DIL KE RUBARU HAAN RUBARU (OFF-DA-HOOK arrogant feel vocals that give jazba) from 5.19 to 5.24

2. The underlying heavy rhythmic heavy beat with a HARD hit pattern.

3. The grand build up at da start, wicked funky guitar riff, continuous vibrant bazz metal guitar, raga tune pieces, heavy drum hits from 0.38 to 0.40 and additional quick heavy beats that give great intermittent effect.

There is hardly any nazal twang in Himesh's vocals in this song which goes en-route the hard-core genre of 'pakistani pop', where you can imagine the protaginists holding their head and playing guitars with dim and flashy light settings behind some clumsy place where graffity is written.

Kesariya

The underlying beats of this song represent very much the open small town country side setting.

The starting Rajasthani tune piece is very catchy until 0.23, especially at 0.09 & 0.20

From 0.24 to 0.44, the same extended well-structured rising flute piece plays that played in between 1st & 2nd stanza of O JAANA LOVE U MISS U from ROCKY – THE REBEL.

The 1 hit tune keys from 0.45 to 0.57 are cute and catchy, especially at 0.53

In essence, from start to 0.57 is BEST part of the song.

Jayesh croons in banjara/nomad style with good results, especially the word PADHARO.

From 1.28 onwards, the Vineet's soothing vocals take over and he somehow sounds like Sonu Nigam.

Vineet's line REEEEEEEE (voice deepening twist) from 1.32 to 1.34, 1.41 to 1.43, 1.49 to 1.51 & 1.57 to 1.59

The Rajasthani tune sur in between 1.34 & 2.01 is of great cause to enhance the traditional outdoor desert setting.

Vineet's line MAAAAAA (classical folk twist) from 2.13 to 2.15, & 5.46

Between mukhda & 1st stanza, a feel good harmonica tune plays followed by pleasantly likeable traditional flute / bansuri.

1st stanza

Vineet sings with soothing & desperation feel vocals and is complimented by Jayesh's alaaps.

The bansuri between 3.02 & 3.08 is pleasant.

Vineet's line, tadpaye REEEE (desperation feel twist) from 3.13 to 3.14, chain aaye reEEEE (desperation feel twist) EEEEE (prolonged voice deepening) from 3.19 to 3.22

The traditional flute piece from 3.36 to 3.41 accompanies Jayesh to give a very good country side feel of a gaon.

From 3.42 to 3.58, Vineet's low pitched vocals are pleasantly soothing.

Between 1st & 2nd stanza, the musician plays the piano the same way you would hear in a 5 star hotel near the lounge section, along with an underlying metal guitar. The pleasantly likeable traditional flute / bansuri returns from 4.32 to 4.43

2nd stanza

Vineet sings with soothing & desperation feel vocals and is complimented by Jayesh's alaaps.

The bansuri between 4.48 & 4.54 is pleasant.

Vineet's line, guzaru REEEE (desperation feel twist) from 4.59 to 5.00, chain aaye reEEEE (desperation feel twist) EEEEE (prolonged voice deepening) from 5.05 to 5.08

The traditional flute piece from 5.22 to 5.27 accompanies Jayesh to give a very good country side feel of a gaon.

Vineet's line, MAAAA (profound classical twist) from 5.46 to 5.47, KEEE (great feel twist) SARIYAAAA (prolonged) AAAA (awesome quick abrupt down twist) from 5.56 to 6.00, BAA (awesome gradual classical up twist) AAAAAAAA AAAAOOOO (prolonged twists-n-turns) from 6.00 to 6.06, DEEEEEEEEE (deliberate voice shake) EESH at 6.10 & from 6.15 to 6.16

Highlights of this song:

1. Vineet's soothing and desperation feel vocals and Jayesh's folkish croons/alaaps.

2. Underlying traditional folk beats that give the JAISELMER feel, harmonica tune, cute and catchy Rajasthani tunes, pleasant bansuri and the extended flute piece at start.

When a Himesh fan looks at the theme / setting of Nanhe Jaiselmer or any other similar themed project, expectations are bound to soar.

This is due to the evergreen benchmark and bestseller album TERE NAAM that was based on TRADITIONAL OUTDOOR setting which had a history song OODHNI.

Having said this, after a relative comparison, this song is a decent affair.

Ranjhna

The song starts with an alienish female voice that is preparing the 'initial' set-up communication link for Himesh to communicate with the outer world with his high pitched frequencies that are capable of intercepting with Aircraft signals.

The fast-paced unplugged beats from 0.09 onwards set the undertone of the song.

The synthetic piano piece in between 0.15 to 0.30 makes quite an impact.

Just notice the TONAL QUALITY of Himesh's vocals in echo effect from 0.21 to 0.23, 0.28 to 0.30, 2.17 to 2.18. This is serious business!

The traditional theme piece plays from 0.30 to 0.45 and it is penetrating with a well structured simple pattern.

Himesh's SHARP KNIFE EDGE croons from 0.46 to 1.00, 2.22 to 2.37 are superb in tonal quality and the wheez effect is great.

The DJ spins it old style from 1.00 to 1.01, 2.37 and the underlying groove effect is also the small-town way.

The mukhda lines from 1.01 to 1.32, 1.56 to 2.07 are simple and well structured with a déjà-vu feel. What makes them peppy is the underlying beats that are in sync.

The 4 additional beat hits from 1.32 to 1.33 are off-da-hook and remind of MILE HO TUM TOH (DIL DIYA HAI) at 1.22 in terms of the idea behind SIKE purposes.

From 0.33, 2.08 onwards, the orchestration is raw styled and one wonders is it because the protagonist is from a small town in the movie!

Fromn 1.41 to 1.56, the sufi-rwak Himesh is back to his old antics and the composition is also very sufi-rwak.

Between mukhda and 1st stanza, a traditional folk instrument plays in unplugged mode. The 1 beat hit followed by wicked bazz sound from 3.06 to 3.07 is off-da-hook and by the time the underlying beats hit again, the song is rwaking!

1st stanza

Himesh sings with SHARP KNIFE EDGE vocals with sufi-rwak prolonged twist in line lagiya REEEEEEE(prolonged)EEEE(up twist) from 3.26 to 3.28

The lines from 3.29 to 3.36 are typical in terms of his sufi-rwak composition style and singing.

Between 1st and 2nd stanza, the alienish voice is back to check if Himesh vocals and Jaadu are on the same wavelength. The piano piece makes its impact (must have used a grand piano, the keys sure are heavy!)

2nd stanza

Himesh sings with SHARP KNIFE EDGE vocals with sufi-rwak prolonged twist in line rehna REEEEEEE(prolonged)EEEE(up twist) from 4.33 to 4.34

The lines from 4.35 to 4.42 are typical in terms of his sufi-rwak composition style and singing.

It makes the listener smile that Himesh uses his same formulas and yet comes with a new sufi-rwak tune with ease.

Highlights of this song:

1. Himesh's SHARP KNIFE EDGE vocals (check out the tonal quality!), including the echo effect.

2. The old style CD spin effect, fast paced unplugged beats, the grand piano (with mammoth keys), the traditional theme piece, the groove effect, the MILE HO TUM TOH styled additional hits for sike purposes, the wicked bazz sound, and the underlying mast kickass beats in sync.

3. The alienish female vocals that gives feel good nature.

This song is all about feel good nature and is not meant to be taken seriously.

It is about appreciating Himesh's tonal quality along with the build up in unplugged mode to foot tapping old styled (in orcestration "but innovative and unordhodox in pattern") beats that hit it real good and most importantly IN SYNC.

Lamha Lamha

The song begins with Jayesh's passionate emphasis feel croons.

An emotional feel raga tune plays from 0.09 to 0.20

The rhythmic male vocal percussion that gives a previously herad before déjà-vu feel joins in from 0.14 onwards to give a great finger-snapping groove intermittently throughout the mukhda.

Himesh's lines from 0.21 to 0.25 are sung with a subtle feel thehrav but he quickly reverts to his usual sufi rwak antics from 0.25 to 0.29 & 0.58 to 1.06

Sunithi sings with deep husky alto subtle feel vocals in between 0.29 & 0.55, 1.06 & 1.15

Himesh sings with high pitched desperation plea vocals from 0.58 to 1.06

Between mukhda & 1st stanza, a well structured Rajasthani folk tune plays (catchy from 1.19 to 1.26 when heard in overall context / totality) along with quick guitar riffs.

1st stanza

Sunithi continues with her heavy husky alto subtle feel vocals from 1.48 to 2.03 on a simple yet effective well structured repetitive tune pattern with some feel good twists and turns.

From 2.04 to 2.12, Jayesh brings in a stark contrast to pour out more high pitched intense desperation plea emphasis croons, with emphasis on AAAA (awesome penetrating alaap) at 2.04, MERI (awesome quick intense twist) at 2.05, MERA (awesome quick intense twist) from 2.09 to 2.10, DEEWANA (awesome feel twist) PAN at 2.11

Between 1st & 2nd stanza, a well structured quick peppy Rajasthani folk tune piece plays.

2nd stanza

Sunithi continues with her heavy husky alto subtle feel vocals from 3.12 to 3.28 on a simple yet effective well structured repetitive tune pattern, with emphasis on DHADKAN –NNN (great rising feel good twist) from 3.24 to 3.25

From 3.28 to 3.36, Jayesh brings in a stark contrast to pour out more high pitched intense desperation plea emphasis croons, with emphasis on AAAA (awesome quick twist) at 3.28, LIYEE (awesome quick intense twist) from 3.39 to 3.40 & 3.33 to 3.34, MERA (TERRIFIC halke se desperation emphasis plea) from 3.35 to 3.36

Jayesh pours out some more high-pitched desperation feel croons from 2.04 to 2.12

Highlights of this song:

1. Himesh's vocals with a mix of (subtle feel) thehrav and his usual sufi rwak antics (desperation plea).

2. Sunithi's heavy deep husky alto vocals with subtle feel.

3. Jayesh's intense high-pitched desperation plea emphasis croons.

4. The rhythmic male vocal percussion which is essentially the underlying beat.

5. Emotional feel raga tune, well structured Rajasthani folk tune pieces between stanza gaps and quick guitar riffs.