dil_diya_hai

Music review analysis of Himesh Reshammiya's album Dil Diya Hai (2006).

Diya Dil

A violin piece marks the start of this song along with a new-age synthetic techno sound in unplugged mode until 0.42

Himesh croons full of intensity in high-pitch.

Himani arrives with her husky vocals followed by an underlying bazz sound from 0.41 to 0.42

The underlying beat from 0.43 onwards has an innovative pattern of MATKA beats (representative of Afreen – Nusrat Fateh Ali).

Himani croons in her feel good merry ways from 0.53 to 1.01, especially OOOOO (husky twist) from 0.56 to 0.58

From 1.22 to 1.27, the tune sur behind KYA KIYA gives haunt effect.

Himesh's lines from 1.27 onwards are very powerful with emphasis on KAR LIYA (terrific fulltu high pitch) at 1.31

Himesh's line, diya DILW (OFF-DA-HOOK passionate emphasis vocals give SIKE) from 1.32 to 1.34 is the BEST part of the song.

Himesh's line, KYAAA (awesome quick profound classical up twist) from 1.39 to 1.40

Himani's low-pitched deep husky vocals and a striking contrast to Himesh's sharp high-pitch but an innovative potential combination. Anything new is welcome!

Between mukhda & 1st stanza, a new-age synthetic techno instrument plays along with a laidback piano piece

1st stanza.

Himesh's lines from 2.12 to 2.22 are high pitched passionate semi-slogans.

The combo of high-pitch (Himesh) and low octave (Himani) combination is the key effect here due to the contrasting pitch variation.

Himani's lines are subtle, emphasis on AAI (awesome halke se feel) SA  at 2.30

Between 1st & 2nd stanza, da combo of a catchy semi-classical instrument tune from 2.56 to 3.05, from 3.16 to 3.21 (TERRIFIC emotional feel) and lovely sitar tune from 3.06 to 3.15 is a very INDIAN combination in an otherwise sufi rwak number.

2nd stanza

It is better than 1st stanza as proceedings shift towards feel factor courtesy also due to the lyrics.

Himesh's lines from 3.21 to 3.31 are high pitched passionate semi-slogans whereby echo effect is the key.

Himani's lines, ME - RA (awesome high note feel) at 3.39

Highlights of this song:

1. The combination of Himesh's high-pitch and himani's deep husky low octave vocals.

2. The underlying MATKA beat pattern.

3. New-age synthetic techno sound / instrument along with a laidback piano piece.

4. The Indian combo of catchy semi-classical instrument and sitar tune in between 2nd gap.

Afsana Banake

This is a song with an ARABIAN feel.

The song starts with a passionately intense violin tune followed by raw style heavy beats from 0.14 to 0.20 with a thump effect which have great timing along with a techno sound.

The mast rhythmically foot-tapping Arabic beats kick it from 0.21 onwards and their pattern is simply awesome.

From 0.37 to 0.45, Himesh's computerized vocals really set the undertone of this song.

The off-da-hook beat effect from 0.49 to 0.50 is great launch pad for Himesh's nazal vocals that follow.

The line AAFSANA BANAKE is actually a prolonged similar tune of the line AASHIQ BANAYA, even the lyrics are similar, aafana...aashiq (the A effect) and banake...banaya, whereby both the lyricist Sameer and Himesh - the composer were thinking on these same lines in their music room.

Himesh's line, deWANAAAAAAAA (prolonged intense empasis vocals with dying finishing effect) from 1.15 to 1.18 & 1.56 to 1.59 is very much the pattern he uses at will in his sufi-rock songs.

The beat SKIP pattern from 1.18 to 1.24 & 1.59 to 2.05 is amazing and the build up beat pattern from 1.25 to 1.27 & 2.06 to 2.08 give the sahi desired effect and kick.

From 1.43 to 1.52, Himesh is back to his typical sufi rwak singing antics and the beat effect from 1.51 to 1.52 is off-da-hook .

Between mukhda & 1st stanza, a synthetic Arabian guitar from 2.24 to 2.32 is joined in by Jayesh's high pitched passionate croons from 2.33 to 2.42 followed by a peppy Arabian tune from 2.43 to 2.51

1st stanza

The beat effect from 2.50 to 2.51 is off-da-hook.

Tulsi's vocals from 2.51 to 3.09 are melodiously sweet.

Himesh's lines, HAAI (awesome desperation feel twist) from 3.11 to 3.12 & AALAM (awesome desperation feel twist) 3.15 to 3.16

Himesh's lines, HAAI at 3.13 & 3.18 are just like sufi rwak emphasis slogans / naare baazi.

From 3.28 to 3.30, the quick ABA styled (behind TERE BIN in the end) bazz trumpet pattern gives some kick.

Tulsi's subsequent high-pitched vocals from 3.31 to 3.48 are likeable.

Between 1st and 2nd stanza, the quick bazz trumpet pattern along with Jayesh's high pitched passionate vocals that depict some sense of urgency are for sike purposes is followed by the peppy Arabian tune.

2nd stanza

The beat effect from 4.06 to 4.07 is off-da-hook.

Tulsi's melodiously sweet vocals from 4.04 to 4.24 are more catchier than her 1st stanza, also courtesy due to lyrics that rhyme.

Himesh's lines, HAAI (awesome desperation feel twist) from 4.26 to 4.27 & MEIN (awesome desperation feel twist) 4.31 to 4.32

Hinesh's lines, HAI at 4.29 & 4.33, MODH NA (abrupt leave) 4.35 to 4.36 is like sufi rwak emphasis slogans / naare baazi.

From 4.44 to 4.45, the quick ABA styled (behind TERE BIN in the end) bazz trumpet gives some kick.

Highlights of this song:

1. Arabian elements (the underlying rhythmically foot-tapping beat and instruments) that commercially sell the music.

2. The beat skip pattern, build up pattern and the off-da-hook beat effect wherever mentioned.

3. The ABA styled bazz trumpet, the passionately intense violin, techno sound, synthetic Arabian guitar and peppy Arabian tune.

4. Jayesh's high-pitched passionate croons.

This song has Arabian elements that are known to sell the music commercially.

Yaadaan Teriyaan

It is a SADISTIC song, and this aspect is enhanced by its lyrics in the stanzas.

I have already emphasized this fact before and I will emphasize it again, that Himesh has never forgotten the Indian citizen Mr.Tabla, even in his hard core Sufi Rwak compositions.

The song starts with a string based sufi rwak instrument followed by the quick profound tabla beat pattern which is pretty much the underlying beat.

Himesh fully expresses himeslf by going fulltu with lines, JAHAAN (terrific high note), DARD (terrific high note) & SE (terrific sudden high note) RAA.

Himesh's lines, LAGE * 4 are catchy.

Himesh's line, TERIYAAN - AAAN (awesome feel twist) from 1.00 to 1.01 & 1.27 to 1.28

Himesh's lines, mera DILLLLLLLL (prolonged feel good twist) meri JAAAAAN (prolonged feel good twist), ARMAAAAA (prolonged feel good twist) have very faint twists of Himesh - the pre ABA composer.

Himesh's line, JAAYE (terrific profound feel twist) from 0.45 to 0.46 & 1.19 to 1.20

The continuous heavy rock metal guitar from 0.48 to 1.07 and from 1.23 to 1.35 enhances the overall mood and effect.

The pleasent flute in between 1.11 & 1.22 is of great cause.

Between 1st & 2nd stanza, a painful bazz trumpet plays followed by dard bhare male desperation plea vocals followed by a funky guitar piece.

1st stanza

Himesh's lines, gherayion NEEEEE (terrific middle octave down twist) from 2.17 to 2.18, & tanhaiyoon MEEEE (terrific middle octave down twist) from 2.24 to 2.25 succeed in conveying the low helpless spirits that only crave for his lover.

Himesh's lines from 2.29 to 2.43 are very much typical sufi-rock composition style and the lines MERE JISM DIL DIMAG PAR KAISA NISHAAN YEH DIYA HAI are actually quite sadistic whereby the listener wants to sit in a lonely dark corner and cover/hold his head with both hands in a state of dejection. Great lyrics too!

Himesh goes full pitch YAA (high note) DAAN TERIYAAN from 2.43 to 2.46 with penetrating vocals.

Between 1st & 2nd stanza, a string based sufi rwak instrument from 3.02 to 3.09 followed by a synthetic sufi rwak instrument from 3.09 to 3.16 is hard core sufi rwak stuff and it depicts saddism (Himesh also used such 'saddistic element' at the same spot from in his another hard core sufi rwak song LAGI CHUTE NA from ROCKY - THE REBEL to depict the overall saddistic feel). The KEY is the east-west combo when the tabla beats join in especially the profound classical off-da-hook effect given at 3.16, 3.18, 3.20 & 3.22 that gets the listeners pulse.

2nd stanza

Himesh's lines, RAAT (terrific desperation plea, with kashish in vocals) din JAANE JAANA (terrific middle octave down twist) from 3.32 to 3.33, & har PALLLLLLLLL (terrific middle octave down twist) from 3.40 to 3.41 succeed in conveying the the low helpless spirits that only crave for his lover.

Himesh's lines from 3.45 to 3.59 are very much typical sufi-rock composition style and they actually remind the painful tragic vocals of the great ATAAULA KHAN and the MIDDLE OCTAVE PENETRATION is effective.

The additional tabla beats with a profound off-da-hook classical effect join in from 4.37 onwards.

The flute piece in between 4.18 & 4.30, 4.42 & 5.13 gives a subtle pleasant effect to the charged up vocals.

From 4.40 onwards, Himesh repeats the lines YAADA TERIYAAN in subtle vocals to fool and convince the listener that the song will now end, but he quickly returns to his old antics by crooning his sudden high pitch lines YAA (high) DAAAN (emphasis) TERIYAAAN * 2 after which the song finally ends.

Highlights of this song:

1. Himesh's high pitched desperation plea vocals, with middle octave impact in stanzas.

2. The underlying profound quick tabla beats.

3. The continuous heavy metal rock guitar, painful bazz trumpet, funky guitar piece, pleasant subtle flute piece, synthetic / string-based sufi rwak instruments and off-da-hook profound classical tabla pattern.

4. Dard bhare male desperation plea vocals.

This is a saddistic sufi rwak number that narrates that desperation plea of a helpless lover, and falls in same category of hard core saddistic sufi rwak songs like NAMUMKIN from SLBB and LAGI CHUTE NA from ROCKY - THE REBEL.

This is a sadistic song.

Mile Ho Tum Toh

This is the BEST song of da album and a masterpiece by Himesh whose greatness will be understood and felt with each passing repeat hear. It has the 'contrasting mix' of both worlds i.e. 'sadistic' in its 'slow laidback' part and 'kickass' in its 'fast rhythmic' part.

It begins with a DARK CREEPY DOWN TOWN feel from 0.00 to 0.13 whereby the listener visualizes himself in the mysterious rugged downtown locations at night with bats flying all over, just like in AFREEN from RED video (especially the mukhda part).

From start to 0.13, the combo of subtle laidback guitar riffs along with a varying GROOVY tune which is highest pitch tune at 0.02, lower pitch tune at 0.04 & lowest pitch tune at 0.08, followed by 3 flick of guitar strings at 0.10 is mindblowing.

From 0.13 to 0.26, the CUTE FLUTE just wins over the listener (especially the halke se feel at 0.18 & 0.25), take a bow!

The underlying beat is rather subtle laidback that is representive of a ghazal setting and takes its own sweet time to come to da party.

Himesh moulds his sufiana andaz to accomodate a ghazal maestro, especially the way he innovatively sings with casual vocals MILE HO (awesome helplessness) at 2.20 & 3.40, HUM SAFAR (immense pain) from 0.38 to 0.40 & 0.58 to 1.00

The mesmerizing raaga tune from 0.40 to 0.43, 0.50 to 0.54 & 1.07 to 1.10 enhances the desperation feel.

Himesh's line, UDASS - SAAA (awesome dejected feel) at 0.47 & 1.04

Himesh's line, HAIIIII (pours his heart out with OFF-DA-HOOK fulltu high pitch to express his passionate obsession, dil ki pukar!) at 1.14, 1.58, 3.18 & 4.31 fully conveys the hero's viewpoint to the extent he has dedicated / submitted his heart to his loved herione. Itni shidat aur dillagi se agar koi bhi apne chahne wale koh pukarega toh usko koi bhi thukra nahi sakta aur majbooran har haalat mein waapas hi laut ke aana padega!

The heavy bazz metal guitar at 1.12 (once) and from 1.15 to 1.16 (three times) that follows himesh's lines is of great cause.

The song keeps on alternating in between tempo i.e. until this point, proceedings are slow with the underlying laidback beats when suddenly the tempo increases with Himesh's line, REHNA - AAAAAAAAA (awesome prolonged) from 1.20 to 1.23, is joined in by a bazz sound that hits once followed by additional quick heavy hits (OFF-DA-HOOK beat effect that gives KICK).

Sudden rush of adrenaline is felt with Himesh's sharp knife-edge croons croons NA NA NA NA RE (simple yet effective composition pattern) from 1.23 to 1.36, along with constant underlying heavy bazz metal guitar that gives kick, whereby da listener can imagine wide screen rotational camera angles with various close up shots.

After which things take a chill pill again as if nothing has happened re change and shift of tempo.

The beat skip from 2.03 to 2.04 is awesome.

Tulsi kumar does exceptionally well in her part.

Her NA NA NA NA RE croons in low alto vocals are innocently cute (melodic tease whereby herione is teasing the hero) along with constant underlying heavy bazz metal guitar, whereby the listener visualizes quick rotationary camera angles / flashes all over and across da screen in beautiful sceneic open outdoor terrain.

Between muhkda & 1st stanza, an extended raga instrument piece plays.

1st stanza

Melodious vocals of tulsi kumar along with underlying subtle laidback beats, with emphasis on MUJH (melodious sweet) from 3.03 to 3.04

From 3.25 to 3.40, suddenly the tempo of the song increases and a sudden rush of adrenaline when a bazz sound that hits once followed by additional quick heavy hits followed by Tulsi's innocently cute low octave alto croons NA NA NA NA RE (simple yet effective composition pattern), along with constant underlying heavy bazz metal guitar.

Between 1st & 2nd stanza, a likeable flute piece plays.

2nd stanza

The heavy bazz metal guitar from 4.12 to 4.13, 4.15 to 4.17, 4.29 & 4.33 that follows himesh's lines gives JAZBA.

Melodious vocals of tulsi kumar along with underlying subtle laidback beats, TASAVUR (melodious) at 4.22, MERI (so sweet as if she had sweet flour / honey) from 4.23 to 4.24

Himesh's line, DOORIE (passionate emphasis) from 4.33 to 4.34, was similar to his line DOORIE (passionate emphasis) at 5.08 in AASHIQ BANAYA TITLE TRAX.

Himesh's line, DIL - W (emphasis tongue twist) at 4.34 is similar to his line DIL - W (interesting emphasis tongue twist) from 1.33 to 1.34 in DIL DIYA HAI TITLE TRAX & DIL - W (emphasis tongue twist) at 1.14 & 1.17 in AA AA AASHIQUI from 36 CHINA TOWN.

From 4.38 to 4.53, suddenly the tempo of the song increases and a sudden rush of adrenaline when a bazz sound that hits once followed by additional quick heavy hits followed by Himesh's sharp knife-edge croons NA NA NA NA RE (simple yet effective composition pattern), along with constant underlying heavy bazz metal guitar.

Himesh's line, BICHAD KEEEE (OFF DA HOOK desperation feel) from 5.00 to 5.02, UDAS (awesome halke se feel) KAR NA (awesome halke se feel) from 5.06 to 5.08

Highlights of this song:

1. Himesh's dard bhare vocals full of tadap & ehsaas, with emphasis on off-da-hook high pitched fulltu line HAI at 1.14, 1.58, 3.18 & 4.31 that touches da sky of expressivness.

2. Tulsi's innocently sweet melodious vocals both in lower (NA NA NA NA NA RE croons) and higher octave (mukhda & stanzas).

3. The underlying chilled out laidback beats, followed by the sudden increase in tempo from 1.22 to 1.36, 2.05 to 2.20, 3.25 to 3.40 & 4.39 to 4.53 that get the adrenaline flowing.

4. String riffs, groovy tune variation and cute flute piece that bowls over da listener from start to 0.26

5. Raga tune, heavy bazz metal guitar in stanzas and behind NA NA NA NA RE croons.

This is an experiment by Himesh in terms of tempo, because it keeps on changing / varying back and forth in between, something that is not easy to pull off and can go horribly wrong if it backfires.

Chalo Dildar Chalo

The song is meant to be a feel good bindass number.

It starts with a bazz sound along with the semi-plugged beat.

The raga instrument (not the tune pattern) from 0.05 to 0.33 was also used in the mukhda itself, in between mukhda & 1st stanza from 1.44 to 2.00 and between 1st & 2nd stanza from 3.16 to 3.24 in AMEEN from RED – THE DARK SIDE.

From 0.13 to 0.26, Jayesh Gandhi joins in with his subtle desperation emphasis croons.

The main underlying beats join in from 0.34 onwards and their skip pattern (albeit with a faster tempo as compared) is similar to the underlying beats in DIL NAIYO MAANE RE from PHIR HERA PHERI.

The repetitive synthetic tune between 0.34 & 0.38 builds up the song tremendously and gets the listener into rhythm.

The intense intermittent violin piece from 0.41 to 0.45 & 0.48 to 0.53 is of great cause.

Debojeet's line, TUUUUUUUU (prolonged) UU-UU-UU (gradually descending subtle low feel twist) from 1.04 to 1.09 vintage Sufi-Rwak Himesh style is followed by a catchy subtle violin piece in unplugged mode to deliver the completeness effect.

Debojeet's middle octave core mukhda lines from 1.14 to 1.26 & 1.36 to 1.49 along with underlying beat skips are rhythmic feel good.

Debojeet expresses himself in line DIL-DAAAR (high-pitched emphasis twist) from 1.27 to 1.28 followed by lovely violin piece.

Debojeet's lines, NA (feel good twist) from 1.44 to 1.55, DIL (subtle feel) at 1.46

Between mukhda & 1st stanza, the raga theme piece is joined in by Jayesh's emphasis croons.

1st stanza

The quick beat effect from 2.08 to 2.09 that gives perfect kick start to Debojeet's vocals is a frequent pattern used in Sufi Rwak songs.

Debojeet's sings with feel good vocals from 2.09 to 2.28 on a simple well structured repetitive composition pattern.

Jayesh's intermittent croons are of great cause, with emphasis from 2.28 to 2.29

Himani's deep husky subtle vocals from 2.29 to 2.38 follow Sunithi's foot steps to an extent.

quick profound cutting edge  'mirimba instrument' plucking sound from 0.24 to 0.40 that was similarly used from 3.14 to 3.40 in CHALO DILDAR CHALO from DIL DIYA HAI.

Between 1st & 2nd stanza, a cutting edge quick profound 'mirimba instrument' plucking sound plays from 3.14 to 3.40 that was similarly used from 0.21 to 0.37, 0.23 to 0.27, 2.35 to 2.39, 3.25 to 3.33 & 4.35 to 4.43 in AARZOO from MR. FRAUD. Jayesh's desperation emphasis croons from 3.18 to 3.28 are TERRIFIC, followed by an extended intense violin piece.

2nd stanza

The quick beat effect from 3.39 to 3.40 that gives perfect kick start to Debojeet's vocals is a frequent pattern used in Sufi Rwak songs.

Vineet's sings with feel good vocals from 3.41 to 3.49 on a simple well structured repetitive composition pattern, with emphasis on HAAI (profound twist) from 3.58 to 3.59

Jayesh's intermittent croons are give the key overall effect to Vineet's and Himani's vocals, with emphasis from 3.58 to 4.00 & 4.04 to 4.05, in between 4.14 to 4.19 (awesome middle octave).

Himani's deep husky subtle "alto" vocals from 4.00 to 4.09 follow Sunithi's foot steps to an extent.

Vineet's line, DIL(halke se feel twist)DAR from 4.41 to 4.42

The song ends with Jayesh's high-pitched emphasis croons.

Highlights of this song;

1. Debojeet's and Vineet's bindass carefree straight-n-sharp vocals, Himani's deep husky subtle "alto" vocals and Jayesh's awesome desperation emphasis croons.

2. The underlying beat skip pattern, the raga theme piece, intense / subtle catchy violin piece, cutting edge quick profound  'mirimba instrument' plucking sound between 2nd stanza gap and quick beat effect.

Ideally hear this song for all the male portions of line, TUUUUUUUU (prolonged) UU-UU-UU (gradually descending subtle low feel twist) followed by a catchy subtle violin piece in unplugged mode, which is the best part of this song.

My Picks

1. Mile Ho Tum To

The dark mysterious beginning comprising of the combo of subtle laidback guitar riffs along with a varying GROOVY tune from start to 0.13, followed by 3 flick of guitar strings at 0.10 give a feel as if the listener is somewhere near a spooky cave, followed by the mesmerizing CUTE FLUTE piece from 0.13 to 0.26 just konnekts big time, blows away, wins over the listener (especially the halke se feel at 0.18 & 0.25 joh bas dil jeet leta hai). Underlying beat alternates in between tempo from slow laidback rhythmic to fast heavy rhythmic from 1.23 to 1.36 & 2.05 to 2.19. The bazz metal guitar used along with Himesh's vocals in 2nd stanza gives jazba. Himesh's line, BICHAD KEEEE (OFF DA HOOK desperation feel) from 5.00 to 5.02, UDAS (awesome halke se feel) KAR NA (awesome halke se feel) from 5.03 to 5.08

It is a KICKASS number, in the sense, it plays with da listener's PULSE in terms of its alternating TEMPO i.e. the BUILD UP is caused by slow laidback beats and mukhda vocals that get da listener into da groove from start to 1.19 & 1.37 to 2.02, followed by KILL effect with Himesh's line REH-NAAAAAAA (off-da-hook prolonged high pitch) from 1.19 to 1.23 & 2.03 to 2.06 along with off-da-hook quick repetitive heavy beat effect which causes a rush of adrenaline, and core mukhda tag line NA NA NA NA RE from 1.24 to 1.36 & 2.07 to 2.20 along with constant underlying metal bazz guitar that builds jazba / sike and fast rhythmic beats that give foot tapping kick.

Himesh's BEST line is HAIII (OFF-DA-HOOK fulltu high pitch desperation plea soulful croon) from 1.14 & 1.58, the impact of this 'dil ki pukar' with 'tadap n kashish' from any grieving lover in remembrance is such that it can even reach n konnekt with his loved one up there in the heavens. Agar itni shidat se koi bhi kisi koh bulayega, toh use majhbooran wapis laut ke aana hi parega! Such is da power of Himesh's vocals.

Music Video Review



Himesh - Emraan combo rwak. Heavy guitar from 0.32 to 0.36, 1.25 to 1.30 & 1.42 to 1.46 gives jazba. Emraan displays his trademark fulltu attitude in the song. The quick camera flashes on the NA NA NA RE portions from 0.43 to 0.56 & 1.51 to 2.05 strike a chord.

2. Yaadan Teriyaan

Underlying beat has a profound quick tabla pattern. Himesh's BEST MUKHDA lines, MERA JAHAAN DARD KA SERA TERE BINA (OFF-DA-HOOK fulltu high-pitched) from 0.13 to 0.20, MERA DIL - LLLLL (OFF-DA-HOOK profound twist) 0.34 to 0.36, MERI JAAN - AAAAN (OFF-DA-HOOK profound twist) from 0.38 to 0.40, ARMAAN - ANNNN (OFF-DA-HOOK profound twist) from 0.41 to 0.43. A continuous bazz metal guitar plays from 0.49 to 1.07 & 1.23 to 1.35. A cute flute piece plays intermittently in between 1.11 & 1.22. Himesh's lines, gherayion NEEEEE (terrific middle octave down twist) from 2.17 to 2.18, & tanhaiyoon MEEEE (terrific middle octave down twist) from 2.24 to 2.25. The tabla hit pattern in between 2nd stanza gap at 3.16, 3.18, 3.20 & 3.22 catches the listener's classical pulse. Himesh's lines, RAAT (terrific desperation plea) at 3.31. Himesh's line, TE (OFF-DA-HOOK fulltu high-pitched) RIYAAN at 4.55 & 4.59

It is a SADISTIC song. Himesh's line, DARD KA (OFF-DA-HOOK fulltu high pitched) from 0.15 to 0.17, Himesh's core mukhda lines, MERA DIL-LLLL (OFF-DA-HOOK profound twist), MERI JAAN-NNNN (OFF-DA-HOOK profound twist) from ARMAAN-NNNN (OFF-DA-HOOK profound twist) from 0.33 to 0.43 & 1.08 to 1.18 strike a chord. Groovy bansuri piece from 1.11 to 1.23 & 4.18 to 4.30 is of great cause. The male desperation plea alaap with tadap from 1.50 to 2.03 in between 1st stanza gap depicts as if tradegy has struck. Himesh's lines, DIL KI GHERRAYION NEIN-NNN (OFF-DA-HOOK twist) from 2.15 to 2.18, APNI TANHAAI (terrific whole hearted desperation plea) YOON MEIN (OFF-DA-HOOK quick twist) from 2.23 to 2.25, Lyrics like MERE JISM DIL DIMAG PAR..KAISA NISHA YEH DIYA HAI from 2.37 to 2.42 are sadistic. Off-da-hook profound tabla pattern from 3.16 to 3.23 in between 2nd stanza gap catches da listener's classical pulse. Himesh's vocals have KASHISH, especially in his line RAAT DIN from 3.30 to 3.32, The tempo of tabla beat pattern gets faster from 4.38 onwards, along with Himesh's lines, YADAAA, TERIYAAAN (OFF-DA-HOOK fulltu high pitched) from 4.53 to 5.00, Listeners with painful memories who are remembering their distant lover will totally connect and get lost in this song's world and aura. There is a saying that 'dard hi dard koh maarta hai' and this song is the perfect medicine due to which state of depression can even feel good.

3. Afsana Banake

Underlying rhythmic beats have Arabian flavour. OFF-DA-HOOK beat skip pattern from 1.18 to 1.25 & 1.59 to 2.06 that give foot tapping kick followed by additional beats from 1.25 to 1.27 & 2.06 to 2.08 that give sahi desired effect. OFF-DA-HOOK beat effect from 0.49 to 0.50 & 1.51 to 1.52. Tulsi's 2nd stanza is better than 1st stanza, and her lines ZEHER ZEHER HAI, KEHER KEHER HAI strike a chord.

4. Dia Dil, Dil Diya

Himesh's line, diya DILW (OFF-DA-HOOK passionate emphasis vocals give SIKE) from 1.32 to 1.34. The BEST INSTRUMENTAL in the song the tune piece along with sitar piece in between 2nd stanza gap from 2.56 to 3.21

From Himesh's 'composed only' songs:

1. Chalo Dildar Chalo

The underlying rhythmic beat skips itself. BEST VOCALS are Debojit's and Vineet's line, TUUUUUUUUU (awesome prolonged) from 1.04 to 1.07, 2.49 to 2.52 & 4.21 to 4.23, TU - TU - TU (awesome quick 3 step descent) UUUUU (awesome halke se feel) from 1.07 to 1.09, 2.52 to 2.55 & 4.24 to 4.26 followed by catchy tune piece from 1.10 to 1.12, 2.55 to 2.56 & 4.26 to 4.28 that gives COMPLETENESS effect. The cutting edge quick profound 'mirimba instrument' plucking sound in between 2nd stanza gap from 3.14 to 3.40 along with Jayesh's catchy desperation emphasis croons from 3.18 to 3.28. Vineet's line, HAI - AAI (awesome profound feel good twist) from 3.58 to 3.59

2. Jab Se Ankh Ladi Hai Tere Naal

Remixes

Yaadan Teriyaan - Remix

Its REMIX version has a RWAKIN underlying fluctuating Calypso beat.

Mile Ho Tum Yoh - Remix

Its REMIX packs a dose of ADRENALINE NITRATE and da track runs on a fast lane.

Listen

 

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