Shabe Firaq

The peppy beats are high on energy and hit it with a real good rhythmic pattern.

From 0.04 to 0.13, the tune piece is catchy.

From 0.13, shabe fiRAAAAAAAAAAAAQ (prolonged) HAI (low feel twist gives halke se kick), teri yaad SAAAAAAAAAAT (prolonged) HAI (low feel twist).

From 0.26 to 0.30, tu HAA (twist) AAAAAAAAAI (prolonged).

From 0.30 to 0.32, the drum beats hit it old style along with synthetic bazz guitar.

Underlying orchestration is FULL ON.

Himesh's MIDDLE OCTAVE vocals, AA RE AA RE AA RE from 0.32 to 0.49 form the muhkda's core melody. The constant underlying funky guitar behind these lines (repetitive 2 chords i.e. normal, half note up) is awesome.

Himesh's catchy line, RE (normal) EE (up 2 notes) EE (up 2 notes) from 0.41 to 0.42 & 1.16 to 1.17 is his BEST line & gives KICK.

Tulsi sings with melodious haunt feel, SHABE FIRAQ (great singing) from 0.51 to 0.53, IS DIL ME JAAN ME (melodiously sung as one quick catchy phrase) from 1.01 to 1.03, HAIIIIIIIIII (prolonged haunt feel) from 1.04 to 1.06

At 1.08, Himesh's vocal effect of 1st AAA (OFF-DA-HOOK catchy) of AA RE AA RE is the BEST compared to similar such mukhda lines, just bowls over da listener.

Himesh's line, AAAAAA (terrific prolonged casual middle octave effect) from 0.49 to 0.50 & 1.24 to 1.26

Between mukhda & 1st stanza, a feel good funky guitar plays followed by beats that hit it real good from 1.36 to 1.45

1st stanza

Himesh's vocals from 1.45 to 1.49 are in MIDDLE octave.

From 1.55 to 2.03, he goes with high pitched fulltu vocals.

Himesh's line, HA (good twist) AAAI at 2.08

Between 1st & 2nd stanza, the 1 bit beat is sharp and the underlying profound plucking string instrument sound is great.

2nd stanza

Himesh's vocals from 2.44 to 2.48 are in MIDDLE octave.

From 2.54 to 3.02, he goes with high pitched fulltu vocals, especially the line HAAAI (passion, gives KICK) at 3.01

From 3.04 to 3.05, IS DIL ME JAAN ME is good melody.

Himesh's line HA (quick twist) AAAAAAA (prolonged) AAAAI (low dying / finishing effect) from 3.42 to 3.45

Highlights of this song:

1. The underlying rhythmic sharp beats and old style drums that give this song its identity.

2. Himesh's MIDDLE OCTAVE vocals AA RE AA RE that forms core melody, especially the RE (normal note) EE (up 2 notes) EE (up 2 notes) that give KICK.

3. Tulsi kumar's melodious high pitched haunt feel vocals.

4. The constant underlying guitar behind the lines AA RE AA RE (normal, half note up, repetitive 2 keys) that great overall combined effect to them.

Dil Vich Lagya Ve

HR kick starts this song in high pitched vocals with maximum emphasis and sets the ideal platform for other singers and mood of the song.

The male vocals that follow are feel good and their line LAGIYA VE (feel twist) are catchy.

The beats kick in from 0.40 onwards and they have a sharp pattern with underlying dhol/drum beats.

HR influences Sonu to sing in his style.

Akriti Kakkar's lines from 1.26 to 1.38 add a desi touch to the song and are melodious.

KK also sings in bindass vocals and the male vocals HAI add great energy level to this vibrant song.

Between mukhda and 1st stanza, a feel good tune plays along with male chants HAI.

1st stanza

Kunal's lines from 2.44 to 3.02 have a high-pitched repetitive pattern and are feel good likeable.

Akriti Kakkar's lines from 3.03 to 3.15 add a desi touch to the song and are melodious.

Between 1st and 2nd stanza, a traditional tune plays.

2nd stanza

Sonu's lines from 4.04 to 4.22 have a high-pitched repetitive pattern and are feel good likeable, with emphasis on DEVAANGI, TERE, MUKHKO, SANSON (straight singing).

Akriti Kakkar's lines from 4.23 to 4.34 add a desi touch to the song and are melodious.

The croons from 5.07 until the end are great.

Highlights of this song:

1. Kunal's and Sonu's feel good vocals.

2. Akriti's melodious vocals that adds a traditional feel.

3. The sharp beat pattern with a rich dose of drum/dhol beats.

4. Male vocals, energetic chants HAI and jayesh's croons.

The feel twist in line LAGIYAVE.

This is a traditional celebration song depicting a good time.

Ghoomar Re

The song begins with groovy beats, techno sound and harmonica tune.

The 3 beats from 0.12 to 0.13, 0.14 to 0.15, 0.16 to 0.17 act as great build up.

The female vocals in between 0.25 and 0.36

The full on beats kick in from 0.37 onwards

KK sings with feel good vocals.

The 5 quick beats at 0.54, 1.38 were also similarly used in AAYA RE from 0.33 to 0.34
Sunithi also sings with feel good penetrating vocals.

The additional female vocals followed by Jayesh's croons from 1.28 to 1.33 add to the feel good nature.

The additional female vocals that croon behind KK's vocals from 1.38 to 1.53 give great overall effect.

Between mukhda and 1st stanza, a feel good tune pattern plays along with a guitar piece. The vocal effect from 2.08 to 2.12 is great.

1st stanza

The prolonged twists in MILIIII, JHUKIIII, LAGAAAA, NAHIIII, PATAAAA, CHALAAA

The female vocals from 2.19 to 2.20 give great melodious feel good effect.

The energetic effect from 2.28 to 2.29

The repetitive tune pattern of KK's lines from 2.29 to 2.37 is catchy.

Between 1st and 2nd stanza, more feel good tune plays. The vocal effect from 3.18 to 3.22 is great.

2nd stanza

The prolonged twists in YAAAA, MANNN, LAGIIII

The female vocals from 3.29 to 3.30 give great melodious feel good effect.

The prolonged twists in Sunithi's LOW PITCH lines MUJHEEE, LAGAAAAA (awesome pattern), SUKUUUN (awesome pattern) strike a chord.

The energetic effect from 3.37 to 3.38

The repetitive tune pattern of KK's lines from 3.39 to 3.47 is catchy.

The energetic male vocals join in from 4.35 till end.

Highlights of this song:

1. Full on beats, 5 additional beats and harmonica tune.

2. KK's feel good vocals and Sunithi's penetrating vocals (with special mention for low pitch in 2nd stanza)

3. Female chorus, energetic male vocals and Jayesh's croons.

This is a celebration song and all about having a good time on a family / festive occasion.

Aaya Re

The song begins with a mesmerizing groovy tune piece.

The tabla beats kick in from from 0.16 onwards.

From 0.25 onwards, the rhythmic beats kick in and they hit it SHARP.

At 0.33, AAYA RE (5 quick drum beats hit it in quick succession).

The tune sur at 0.41, 0.44 & 0.55 is awesome.

At 0.58, 1.00 & 1.02, the soothing female chorus return with their UUU (something that was a must in pre-ABA songs).

Great tune sur at 1.05 and quick rising keys from 1.07 to 1.09

Kunal's lines from 1.10 to 1.19 have feel good melody, with emphasis on lines HUWA MEIN * 2.

At 1.20, AAYA RE (5 quick heavy drums hit).

The tune sur at 1.28, 1.30, 1.33, 1.35, 1.38, 1.41 to 1.44 (flick keys) is of great cause.

Sunithi makes instant impact with her penetrating vocals.

Her lines, SANAMMM (awesome sudden high pitch with voice deepening emphasis) MMMM from 1.30 to 1.31

Between mukhda & 1st stanza, a subtle flute piece plays from 1.44 to 1.54 followed by the musician who gives his keyboard a good quick flick from 1.55 to 2.02 followed by likeable bansuri from 2.03 to 2.09. The 3 key quick rising tune from 2.09 to 2.10 gives great sur to the preceeding stanza vocals.

Stanzas are actually quite short and sweet.

1st stanza

At 2.12, five heavy drum beats give perfect kick start to the stanza.

Kunal's lines, MILJAY (emphasis twist) GA at 2.17, KALIYAN (good emphasis) at 2.21, LAGAAAAAAE (awesome quick classical down twist) from 2.26 to 2.27

The intermittent tunes gives great sur to the stanza.

Sunithi's line, PEEEEE (awesome emphasis twist) from 2.23 to 2.33, sanamMMMMM (awesome PENETRATING GEHRAYIE) from 2.38 to 2.39

Between 1st & 2nd stanza, a Rajasthani folk tune plays from 2.40 to 2.47 after which Himesh - the composer gives full liberty to both kunal and sunithi to express themselves freely and also enjoy the song in form of their chirpy feel good croons YEEEEEE YEEEEEE. From 2.56 to 3.03, the female chorus do their UUUU to quench the listeners thirst. Why isn't himesh using these soothing elements in his music anymore!?

2nd stanza

Sunithi's line, yeh dil tumPEEEEEEEE (awesome emphasis twist) at 3.26, OOOHHHHHH (terrific desperation plea) at 3.28

The intermittent tune sur behind the vocals is of great cause.

From 3.45 to end, the soothing female background chorus returns to captivate the listener with their ever-so-pleasant UUUUUUUUUUUU, along with mesmerizing quick repetitive fluctuating key flicks that give a bit of a haunt feel and urgency to the preceedings.

This song has a high dose of melody. It is one of the great countless love duets with a strong stamp of Himesh - the pre ABA composer albeit with a new age contemporary music arrangement.

Highlights of this song:

1. Underlying sharp rhythmic beat pattern.

2. Sunithi's penetrating vocals and Kunal's feel good vocals.

3. The overall tune sur / key flicks used throughout the stanzas.

4.  The mesmerizing groovy starting tune piece, heavy drum beats (5) used at sahi places with great timing, subtle flute piece and rajasthani folk tune.

5. The ever so soothing female chorus (in between 2nd stanza gap and in the end along with tune sur) that is always welcome in a himesh reshammiya love duet.

Pre-ABA, Himesh reshammiya's music was infectious because of the following elements:

1. Alka's sudden pinching high-pitched vocals.

2. Jayesh gandhi's croons.

3. Female background chorus UUUUUU.

Although he has covered ground for Alka by using shreya, tulsi and sunidhi (and he hasn't forgotten Jayesh completely), but unfortunately he has abandoned the female chorus that was his TRADEMARK in pre-ABA songs.The day he brings back these soothing vocals, history will repeat itself.

Tumhi Se

At a time when HR was rwaking with his so-called full-on sound, he threw in a total surprise with this song that had a very different approach in song structure and musical arrangement.

It was a musical extreme.

The song starts on a pleasant note with likeable tune.

The soothing female chorus kicks in.

From 0.37 onwards, Vijay sings with subtle vocals with emphasis on BINDIYAAA (twist) at 0.40, 1.04

The additional set of beats between 0.46 and 0.50, 1.10 to 1.14, 1.38 to 1.42 gives desired effect.

The piano piece playing in between is likeable.

The lines from 1.24 to 1.33 are best in mukhda.

Between mukhda and 1st stanza, a subtle bazz trumpet pattern plays followed by the theme piece tune.

1st stanza

The lines YEH LAGI * 4, ZINDAGI * 4 are sung with subtle feel vocals with emphasis on YEH (feel) at 2.25, LAGI-IIIII (feel good twist) from 2.27 to 2.28, ZIN (feel) at 2.33, ZINDAGI-IIIII (feel good twist) from 2.35 to 2.37

The likeable piano in background enhances the overall pleasant feel nature.

Shreya's line CHAINNN (feel twist) at 2.40

Between 1st and 2nd stanza, more likeable piano piece plays followed by soothing female chorus and theme piece.

2nd stanza

The lines RAAT DIN * 4, TERE BIN * 4 are sung with subtle feel vocals with emphasis on RAAT (feel) at 3.57, DIN-NNNN (feel good twist) from 3.58 to 4.00, TERE (feel) at 4.05

The likeable piano in background enhances the overall pleasant feel nature.

Shreya's lines are pleasantly melodious with emphasis on KAR TA (high note melody) at 4.28, 5.27

The best lines of the song return once again from 4.55 to 5.04

The subtle female chorus joins in at the end to give an overall melodious effect.

Highlights of this song:

1. Vijay yesudas's subtle feel vocals that are tailor made for this kind of song.

2. Shreya's melodious sweet vocals.

3. The soothing female chorus.

4. The underlying beats, theme piece tune, likeable piano piece pattern, additional set of beats that give this song its feel good identity.

Usually such songs is what one would expect a live orchestra to play in a uptown restaurant while having deserts after having a fine dinner cuisine.

This song shows the versatility of HR – the composer.

Compare a hard-core sufi rwak and soft gentle feel song like this, both in the same era and the difference speaks for itself!

Mausam Hai Bada Quatil

This song is very similar to TERI MERI LOVE STORY from MAINE PYAR KYUN KIYA in terms of composition pattern of mukhda and underlying peppy beats, just in bits and not in entirety.

The song starts with a likeable piano piece in semi-unplugged mode followed by full beats.

The underlying beats are peppy.

The female chorus from 0.26 to 0.32 is soothing.

Sonu sings with feel good vocals.

The bazz trumpet plays from 0.36 to 0.37, 0.48 to 0.50 & 1.11 to 1.13

The male & female chorus from 0.41 to 0.44, 0.54 to 0.57 & 1.18 to 1.20 has a haunt feel.

The groovy tune plays from 1.03 to 1.08

Between mukhda & 1st stanza, an intense violin piece plays in an otherwise feel good song.

1st stanza

Sonu sings with feel good vocals on a simple composition pattern and the female chorus behind his vocals gives soothing effect.

Between 1st & 2nd stanza, a feel good tune plays.

2nd stanza

Sonu sings with feel good vocals on a simple composition pattern and the female chorus behind his vocals gives soothing effect.

The song ends with a feel good whistle.

Highlights of this song:

1. Sonu's feel good vocals.

2. The peppy underlying beats, likeable piano piece, groovy tune and bazz trumpet.

3. Haunt male and female vocals, & soothing female chorus in stanzas.

My Picks

From Himesh's "sung n composed" songs:

1. Shabe Firaq

Himesh's BEST line is the MUKHDA line RE - EE -EE (CATCHY rising notes) from 0.41 to 0.42 & 1.16 to 1.17. Himesh's vocal effect of 1st AAA (OFF-DA-HOOK catchy) at 1.08 of AA RE AA RE is the BEST compared to similar such mukhda lines, just bowls over da listener. Underlying orchestration is full on. Tulsi Kumar's melodious haunt feel vocals strike a chord.

From Himesh's "composed only" songs:

1. Aaya Re

The groovy ambient tune from start to 0.24 is catchy. The underlying rhythmic Waltz beat has a sharp hit pattern. Sunithi's line, SANAM- MMMM (terrific emphasis vocals) from 1.31 to 1.32, OH SANAM (terrific desperation plea) from 3.28 to 3.32. The female background chorus that comes to da party from 3.45 onwards to end are a soothing musical treat to da ears.

2. Ghoomar

Sunithi's BEST lines are her Alto vocals in lower pitch range, MUJHE-EEEE (profound emphasis twist) from 3.31 to 3.32, LAGAA-AAAA (profound emphasis twist) from 3.33 to 3.34, SUKU-UUUUN (profound emphasis twist) from 3.35 to 3.36 in 2nd stanza.

3. Dil Vich Lagya Ve

4. Tumhi Se

It is actually a very unconventional song by Himesh's typical trademark standards whereby orchestration is old school. It just shows Himesh's versatility that he can throw in a spring of surprises every now n then. Himesh has said that his inspiration is Laxmikant-Pyarelal n sometimes his music occassionally goes down that route.

5. Mausam Hai Bada Qatil.

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