Tune Mujhko

Udit softens his vocal chords and sings with utter feel in unplugged mode and the majestic sound in between 0.05 and 0.33 is like jaise dhuan sa uth raha hai jannat mein.

Udit's lines, DEEWANA (gets heavy on listener) from 0.37 to 0.38, KUCH (soothing feel) at 0.40, ISKADAR (TERRIFIC feel, halke se kick) from 0.41 to 0.42, AAAYE (voice deepening) from 0.52 to 0.53

All this portion is the SIKE BUILDING PROCESS.

From 0.57 to 1.07, a tune with haunt feel plays.

From 1.08 to 1.13, the gradual upward piano flick is followed by great wind effect.

This is followed by a string instrument until 1.33, after which note how the 1 key tune(s) give sur in regular intervals until 1.43

From 1.44 to 1.49, the tune gets at its best when the TRUPMET joins in (WINS OVER THE LISTENER at 1.46), and the sike has been fully built up until this point.

From 1.49 to 1.54, tune MUJHKOOOOOOOOO (prolonged with awesome background tune sur).

From 1.56 to 1.58, DEEWANA KIYA (terrific vocals).

From 2.00 to 2.03, 2.17 to 2.19 & 2.33 to 2.35, the quick tabla beats give sahi desired effect.

From 2.16 to 2.17, TERRIFIC tune sur.

The tune pattern of Udit's line TUU (high pitched desperation plea emphasis) at 2.28 is similar to tune pattern of Sanu's line YEH (high pitched emphasis) from 1.21 to 1.21, Alka's line AADA (high pitched emphasis) from 2.35 to 2.36Sanu's line HOTE (high pitched emphasis) at 3.54 is similar to tune pattern of in ISHQ BHI KYA CHAAZ HAI from KURUKSHETRA.

From 2.33 to 2.43, the repetitive piano key pattern is awesome.

Between mukhda & 1st stanza, a likeable piano piece plays.

1st stanza

Between 3.10 and 3.16, a cute tune plays intermittently.

From 3.19 to 3.22, a likeable repetitive piano pattern plays.

From 3.23 to 3.24, a CLASSICAL OFF-DA-HOOK tabla beat plays.

From 3.26 to 3.34, the soothing female chorus kicks in (feel at 3.34).

From 3.35 to 3.43, the stanza picks pace and Udit pours out some soothing feel vocals.

From 3.44 to 3.45, great keyboard flick.

Between 1st & 2nd stanza, feel good female vocals croon intermittently between the piano piece and from 4.21 onwards, female chorus kicks in and the feel good harmonica joins from 4.33 onwards.

2nd stanza

At 4.42, TUUU (great twist), ZIN (halke se feel twist) DAGI at 4.45, KIYAA (melody), PE (halke se feel twist) at 4.50.

This halke se feel twist at 4.45 & 4.50 was similarly used in line AA-ya between 5.48 to 5.54 in KABHI NA SUKUUN AAYA from KOI AAP SA.

Between 4.43 & 4.49, a cute tune plays intermittently.

From 4.52 to 4.56, a likeable repetitive piano pattern plays.

From 4.56 to 4.57, a CLASSICAL OFF-DA-HOOK tabla beat plays.

From 4.59 to 5.07, the soothing female chorus kicks in (feel at 5.07).

And now the genius of Alka's melody and the way HR exploited this element in his duet songs.

Stanza comes into the business end.

From 5.07 to 5.08, TUUT KEEEE (TERRIFIC emotional plea) , zindagaa (feel twist) NI (STRIKING MELODY) from from 5.10 to 5.11

From 5.13 to 5.17, repetitive keyboard pattern gives haunt effect to Alka's lines.

From 5.17 to 5.18, great keyboard flick.

At 5.18, LOOT (HISTORY high-pitched melody, passionate urge whereby heroine gives in).

From 5.22 to 5.23, TERE PYAR NE (melodious).

The CORE MELODY of this song is actually EK TERE SIVA KUCH NA AAYE NAZAR * 2 and Alka's lines have more melodious impact.

From 5.31 to 5.32, 5.36 to 5.37, 5.47 to 5.48, 5.53 to 5.54 & 6.03 to 6.04 AAYE (melodious emphasis twist).

From 5.37 to 5.38, great repetitive tune sur.

From 5.38 to 5.40, TUNE MUJHKO (melodious).

At 5.49, a very cute instrument plays.

From 6.05 to end, the soothing female chorus along with keyboard piece 1 key hit between intervals is just what the doctor ordered.

Highlights of this song:

1. Great SIKE build up in beginning part until full beats kick in.

2. Udit's soothing vocals.

3. Alka's melodious vocals.

4. Instruments tunes and tabla beats used at right places to enhance melodious effect and give sahi timing.

5. Soothing female background chorus.

This is one of BEST pre ABA MELODIOUS LOVE DUET'S by Himesh.

Meri Aankhon Mein

Frankly speaking, one is not very familiar of hearing such melodies from Himesh Reshammiya, but there are few traces of his typical elements.

The song starts with a groovy tune along with a likeable piano piece pattern and haunting female chorus.

The piano theme piece from 0.20 to 0.40 has a haunting pattern.

The underlying beats have very free flowing pattern.

The passionately intense violin piece plays from 0.40 to 0.50

The quick rising keyboard pattern from 0.59 to 1.00, 1.27 to 1.28 & 5.19 to 5.20 that gives haunt feel was a trademark pre ABA element.

Alka's lines, YEH (striking melody) at 1.09, MEE (striking melody) at 1.11 & 1.13

The piano keys behind Udit's vocals from 1.30 to 1.36 are great.

Between mukhda & 1st stanza, feel good trumpet and guitar piece play along with intermittent keyboard flicks

1st stanza

The drum beats from 2.30 to 2.31 give desired effect.

The overall tune pattern from 2.29 to 3.03 is similar to the overall tune pattern from 2.10 to 2.25 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The composition note DU UU at 2.33 & 2.48, TU UU at 2.58is similar to the composition note OO OO (higher / rising) from 2.13 to 2.14, & 2.22 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The lines, KADAM TU (typical unique HR melody) at 2.35 & 2.51, MEIN HU (typical unique HR melody) at 3.01 were similar to lines in AACHA (typical unique HR melody) at 2.16, SACHA (typical unique HR melody) at 2.24 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The groovy tune from 2.36 to 2.39 and keyboard flick 3.01 to 3.04 are great.

Alka's lines ZINDAGI (strike) at 3.10, TEEE (strike) at 3.15, 3.27 MEEE (strike) at 3.17, 3.30, 5.13, 5.16

Between 1st & 2nd stanza, the piano pattern has haunt effect, followed by intense violin piece.

2nd stanza

The drum beats from 4.06 to 4.07 give desired effect.

The overall tune pattern from 2.29 to 3.03 is similar to the overall tune pattern from 3.29 to 3.45 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The composition note DU UU at 2.33 & 2.48, TU UU at 2.58 is similar to the composition note OO OO (higher / rising) at 3.32 & 3.40.

The lines, EHSAAS (typical unique HR melody) at 4.12 & 4.26, TERI PYAAS (typical unique HR melody) from 4.36 to 4.37 were similar to lines IS KA (typical unique HR melody) at 3.34, AISA (typical unique HR melody) at 3.43 in ISHQ BHI KYA CHEEZ HAI from KURUKSHETRA.

The groovy tune from 4.12 to 4.15, 4.29 to 4.30 and keyboard flick 4.38 to 4.40 are great.

The melodious FULLTU high pitched female chorus from 5.12 to 5.13 isTERRIFIC.

Udit's line, DHADRAK (sooth feel) from 5.30 to 5.31

Alka's line, MEEE (desperation feel pinch) at 5.41

The feel good likeable trumpet piece along with female haunt vocals and piano theme piece in unplugged mode end the song.

Highlights of this song:

1. The free flowing underlying beats, groovy sound, theme keyboard piece, quick rising piano flick, intense violin and drum beats to give desired effect.

2. Alka's melodious vocals, Udit's sooth feel vocals and female haunt chorus.

Tu Hi

The song starts off with a painful raga tune pattern in unplugged mode.

Sonu arrives with his soothing feel vocals and the composition pattern of TU HI (normal note) TU HI (higher note) TU HI (highest note) is well structured.

The underlying beats (with a traditional feel) raga tune plays from 0.41 onwards.

The household string theme instrument with an inherent twist from 1.03 to 1.19 is the same that HR has used as theme pieces in umpteen songs (e.g. Kabhi Na Sukuun Aaya (Koi Aap Sa) and Meri Nas Nas Mein Tum Ho (Dil Ne Jise Aapna Kaha).

The three lazy beats were used from 1.19 to 1.20 were also used in Kabhi Na Sukuun Aaya (Koi Aap Sa) from 1.21 to 1.22 and Aap Ki Khata (Bardaasht) from 1.16 to 1.18

The fast paced tabla pattern from 1.31 to 1.37 and 1.59 to 2.04, along with faint female chorus effect gives sahi desired effect.

Shreya sings her lines with her innocent melodious vocals.

Between mukhda and 1st stanza, the emotional raga tune is back and there is something about it that connects. The female chorus thereafter only enhance this feel factor.

1st stanza

The fast-paced tabla beats from 2.40 to 2.41 was also used in Kyun Ki Itna Pyar (Kyun Ki) from 3.10 to 3.12, 4.32 to 4.34

Sonu's lines have desperation in them.

The lines from 2.49 to 3.10 are laidback and subtle with old fashioned drums and soothing female chorus for overall melodious effect.

Emphasis on PAL SHABNAMEEEEE (feel twist) from 2.58 to 2.59, TERI (desperation feel) from 3.08 to 3.09

The bazz trumpet from 3.30 to 3.31 enhances the feel factor.

The 3rd HI of TU HI * 3 has a feel twist from 3.35 to 3.36

Between 1st and 2nd stanza, the emotional raga tune is back followed by theme string instrument tune.

2nd stanza

The fast-paced tabla beats from 4.12 to 4.13 was also used in Kyun Ki Itna Pyar (Kyun Ki) from 3.10 to 3.12, 4.32 to 4.34

Sonu's lines have desperation in them.

The lines from 4.21 to 4.42 are laidback and subtle with old fashioned drums and soothing female chorus for overall melodious effect.

Emphasis on KAISE LAGANNNNN (feel twist) from 4.29 to 4.31, BECHAIN MANN (desperation feel) from 4.40 to 4.42

The 3rd HI of TU HI * 3 has a feel twist from 4.58 to 4.59

The bazz trumpet from 5.02 to 5.03, 5.30 to 5.31 enhances the feel factor.

The soothing female chorus finishes off the song with an overall melodious effect.

Highlight of this song:

1. Sonu's soothing fee vocals, Shreya's innocently sweet melodious vocals and female chorus.

2. The tune pattern of emotional painful raga especially at 0.14 (with special mention of its tonal feel).

3. The theme string instrument, three lazy tabla beats, fast tabla beats at start of stanzas and bazz trumpet with feel factor in stanzas.

This can be classified into a semi-classical HR song, primarily due to its overall feel coupled with huge dose of tabla beats and raga tune.

Bhoolna Nahin

The song begins with a haunting piano piece followed by groovy male vocals.

The intense violin plays with repetitive piano keys.

The main beat kicks in from 0.36 and it has an innovative drum hit pattern.

The soothing female chorus kicks in.

The composition is very uncharacteristic of HR.

Shaan sings with subtle feel vocals, with emphasis on line TUTE KAHIN (twist) from 0.56 to 0.59, 2.02 to 2.05

The quick piano flicks followed by beats from 1.09 to 1.11, 1.41 to 1.44, 2.11 to 2.14 give desired effect.

The soothing female joins Shaan.

Between mukhda and 1st stanza, a feel good piano plays followed by a funky guitar piece and repetitive piano keys and violin piece that give haunt effect.

1st stanza

The composition pattern is very unlike HR.

Shaan's starting lines MAR MITE HAI are good and he sings with subtle feel vocals.

Between 1st and 2nd stanza, the groovy male vocals are back followed by haunt feel vocals that depict an omen of bad things to happen. The synthetic funky guitar plays followed by violin piece and repetitive piano keys, creating a haunt feel.

2nd stanza

The composition pattern is very unlike HR.

Shaan's starting lines YAAD RAKH NA are good and he sings with subtle feel vocals.

The maximum effect in the stanza is due to the groovy tune in between 4.42 to 4.47

The song finishes with soothing female chorus (with haunt feel) and high-pitched desperation croons by Jayesh.

Highlights of this song:

1. Shaan's soothing feel vocals.

2. The innovative drum beat pattern, intense violin piece, funky guitar and piano piece.

3. The groovy male vocals, haunt female chorus and Jayesh's desperation croons in end that give this song its "haunting melody" identity.

Chehra Tera

The song begins with feel good Indian string-based instrument (with interent twist) along with whistle type groovy intermittent sound that was similarly used (the instrument, not the tune pattern) from 0.31 to 0.40 in ISHQ KI GALI from MILENGE MILENGE, and it was a trademark pre-ABA instrument used mostly for theme pieces at start, i.e. from 0.41 to 0.50 in KABHI NA SUKUUN AAYA from KOI AAP SA & from 0.34 to 0.45 in MERI NAS NAS MEIN TUM HO from DIL NE JISE AAPNE KAHA.

The accompanying underlying super lower octave male bazz vocals give a strong haunt feel effect.

The quick piano flicks at different notes, along with semi-plugged beats from 0.11 to 0.20 that were similarly used from start to 1.09 in BAN JAAIYE from SILSILAY initiate the build up process.

The well structured catchy string instrument theme piece plays from 0.22 onwards was similarly used as theme piece (not the tune pattern but the instrument) from 0.51 to 1.11 in WOH TASSAVUR from AAITRAAZ , along with subtle faint female chorus builds up the song tremendously, which gets into full swing when the full free flowing beats kick in from 0.32 onwards.

The three lazy ladiback drum hits from 0.42 to 0.43, 0.59 to 0.59, 1.27 to 1.28 & 1.53 to 1.54 were also used from 1.16 to 1.18 in AAP KI KHATA from BARDAASHT from 1.16 to 1.18

Alka sings with her melodious vocals with emphasis on PYAAR.

Note the interesting use of Arabian element from 1.08 to 1.09

The groovy sound behind Alka's lines in between 1.10 &1.25 enhances the melodious haunt effect.

The quick tabla beats followed by start-stop gap from 1.25 to 1.26 gives great completeness effect to Alka's preceeding vocals followed by 3 lazy laidback drum hits from 1.27 to 1.28 that give great kick start to Sonu's subscequent vocals.

The tune sur along with quick key flicks behind Sonu's lines in between 1.36 & 1.46 enhances the overall pitch / scale.

Alka's line, AAAAAA (prolonged quick gradually descending ascending twist) from 1.59 to 2.00

Between mukhda & 1st stanza, da catchy combo of subtle oriental flute and subtle grand trumpet plays along with fast paced matka beats and a groovy sound from 2.02 to 2.23 in semi plugged mode. The well structured catchy theme piece along with subtle faint female chorus is back from 2.24 to 2.35 along with underlying free flowing beats.

1st stanza

The 3 lazy tabla beats from 2.36 to 2.37 give good kick start to Alka's melodious vocals.

The intermittent jingle chime effect from 2.53 to 2.59 along with her lines gives great overall effect.

The profound raga bazz sound from 3.01 to 3.03 will catch da classical pulse of those those listeners who are very deep into this genre.

Sonu's lines from 3.03 to 3.13 follow a fixed repetitive hook pattern (a formula patented by Himesh) along with intermittent groovy tune tur which is of great cause.

Between 1st & 2nd stanza,a well structured sitar piece from 3.30 to 3.40 in semi-plugged mode is joined in by a catchy groovy tune along with underlying free flowing beats from 3.42 to 3.51 followed by by well structured theme piece tune along with subtle faint female chorus from 3.51 to 4.02

2nd stanza

The fast paced tabla beat pattern from 4.04 to 4.05 gives good kick start to Alka's melodious vocals.

The intermittent jingle chime effect from 4.18 to 4.28 along with her lines gives great overall effect.

The shehnayi piece from 4.28 to 4.29 enhances the emotional feel of Alka's lines.

Sonu's lines from 4.30 to 4.41 follow a fixed repetitive hook pattern (a formula patented by Himesh) along with intermittent groovy tune tur which is of great cause.

The song ends with the catchy well structured string theme piece along subtle daint female chorus, and a profound loud female breath vocals that give a chill pill haunt effect.

Highlights of this song:

1. Alka's melodious vocals and Sonu's desperation feel vocals.

2. Underlying free flowing beats.

3. Well structured catchy string based instrumental theme piece along with subtle faint female chorus, feel good Indian string-based instrument (with interent twist) along with whistle type groovy intermittent sound at start, Arabian tune in mukhda, quick tabla beat pattern, three lazy ladiback drum hits, profound raga bazz sound in 1st stanza, shehnayi piece with emotional feel in 2nd stanza and intermittent jingle chime effect in both stanzas.

4. Da catchy combo of subtle oriental flute and subtle grand trumpet along with fast paced matka beats and groovy sound in between 1st stanza gap, and da catchy combo of well structured sitar piece and groovy tune in between 2nd stanza gap.

5. Super lower octave male bazz vocals at start that give a strong haunt feel effect and profound loud female breath vocals at end that give a chill pill haunt effect

This song has an interesting mix of Indian semi-classical coupled with haunt feel effect, thus justifying and catering to the situational setting of da storyline in question.

The duet melodies of Vaada, Yakeen and Fear were such that they could all be put in one single album to see the association of sound with each other, and this fact is primarily due to the fact of the backdrop theme of the projects in question. i.e. haunt feel.

My Picks

1. Tune Mujhko Deewana Kiya

Udit's lines, KIS KADAR (terrific sooth feel) from 0.41 to 0.43. The bazz trumpet from 1.44 to 1.49 wins over da listener. The fast paced tabla hits from 2.00 to 2.03, 2.17 to 2.20 & 2.33 to 2.35 give intermittent kick. The two tabla hits from 3.23 to 3.24 & 4.56 to 4.57 catch the listener's classical pulse. Alka elevates this song to a whole new level especially from 5.07 onwards, with emphasis on lines, LUT (OFF-DA-HOOK fulltu high pitched melodious vocals) at 5.18, EK TERE SIWA KUCH NA AAYE NAZAR (catchy melodious vocals) from 6.00 to 6.05

2. Meri Aankhon Mein

It is the 'most melodious' HAUNT FEEL song in pre ABA era.

Great haunt feel elements are used throughout the song, with emphasis on the the mysterious groovy sound and female haunt feel chorus from start to 0.19, the haunt feel piano theme piece from 0.20 to 0.39, the intense violin piece from 0.41 to 0.50, spooky oriental flute from 2.13 to 2.25 in between 1st stanza gap, haunt feel keys from 3.35 to 3.55 in between 2nd stanza gap, haunt feel tune from 5.46 to 5.50 and female haunt feel chorus from 6.08 to 6.14 near the end.

(time stamps are for OST version, not music video above)

3. Tu Hi Mera Dil Hai & Chehra Tera (tie)

Tu Hi Mera Dil Hai

It is a SADDISTIC song with a DEPRESSING FEEL, especially the STANZA lines which are sung with a DEJECTED HELPLESS FEEL that leave the listeners a little gutted, due to the fact that the lovers are close and yet so far apart (itne paas ho kar bhi itne door), due to a breakdown in relationship or a tradegy of separation lurking nearby due to situational cicumstances, and despite that they somehow wish to be together, as expressed in the lyrics i.e. 

Shreya's lines, BEHKE HAI AARMAAN, MEHKA SAMAA HAI...TANHAIYYON KA-AAA (terrific twist) at 2.56, PAL SHABNAMI HAI (terrific subtle feel twist) from 2.59 to 3.00, followed by Sonu's line's with subtle feel vocals, Sonu's lines with subtle feel vocals, TU PAAS MERE BAITHI HAI PHIR BHI...LAGTA HAI JAISE TERI KAMI HAI (outstanding lyrics that can cause teary eyes due to the emotional konnekt with the listener) from 3.01 to 3.10 in 1st stanza in the sense that his lover is sitting right by his side, but he loves her so much to an extent that still he feels the void with whatever remaining gap n distance there is between them. 

Shreya's lines, DEEWAANGEE HAI DEEWANAPAN HAI, KAISE BATAU-UUN (terrific twist) at 4.29, KAISI LAGAN HAI (terrific desperation plea twist) from 4.31 to 4.32, followed by Sonu's line's with subtle feel vocals, AANKHON MEIN KYA HAI, CHEHRA TERA HAI...TERE LIYE HI BECHAIN (halke se desperation feel) at 4.41, MANN HAI in 2nd stanza.

The emotional raga theme piece from 2.16 to 2.27 followed by female emotional chorus from 2.28 to 2.38 depicts the desperation feel.

4. Bhoolna Nahi

The two versions of this haunt feel love ballad are a plea to seek reassurance from both unconditional lovers who have doubt over the loss of trust in their relationship and do not want separation due to circumstantial misunderstandings and interference of extraordinary supernatural happenings.

The male (Shaan's) version is better than the female (Sunithi's) version.

The song begins with a mysterious feel tune and female haunt feel croons until 0.15, followed by dodgy male croons from 0.15 to 0.22, The underlying beat from 0.36 onwards has a quick repetitive hard skip pattern. Spooky freaky croons in between 2nd stanza gap from 3.43 to 4.01, Off-da-hook fluctuating groovy sound from 4.42 to 4.47 in 2nd stanza. Jayesh Gandhi's catchy croons from 5.41 onwards to end.

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