Deewanapan Deewaangee

The song starts with a lovely oriental flute (an instrument that was used at start of CHURA LIYA HAI TUMNE TITLE TRAX, AAKHIYAAN LADAA JA from BLACKMAIL & IS TARA DEEWANE from INSAN) along with house hold strings.

Udit sings with sheer soothing feel.

The tune sur after lines deewanapan deewangi and also remaining ending mukhda words is very effective and really sets the build up process.

The main underlying beats were similarly used in MUKHUNDA MUKHUNDA from DASHAVATAR, and they had a sound pattern that hits in sets of 2 after a repetitive gap and this idea of sound pattern gap for "overall effect" and "not the instrument" was similarly used in underlying beat of SEENE MEIN DIL from KOI AAP SA.

At 1.15, Alka arrives and immediately makes impact with her first word DEE (melody) wanapanNNNN from 1.19 to 1.20 (TERRIFIC down twist along with bass trumpet tune sur converying overall feel factor), deewaangi, bazz trumpet tune sur, HAAAAAA (awesome twist) from 1.24 to 1.25

At 1.37, mera chAIIIIN MEEEEERI (striking melody).

At 1.41, DIL (high note melody) ki lagIIIIII (striking melody) tu hi followed by 4 quick hits of MATKA type instrument, great finishing effect. This matka effect also gives good effect in the stanzas also.

At 1.57, deewaaapan (bazz trumpet tune sur at 2.01 gives awesome feel).

Between mukhda & 1st stanza, feel good strings play followed by violin tune.

1st stanza

Tune sur is the key especially from 2.47 to 2.49 & 2.59

Alka's line, TERI ADA pe (immediate striking melody) at 2.27

Udit's line, TERI ada pe (very effective) at 2.38

Alka's lines, socha nahi samjha nahi (melodious) from 2.49 to 2.55, JAANA (halke se feel) at 2.56, DEKHI (halke se, melody) at 3.01 & YEH (melody) at 3.07

The strings used from 3.04 to 3.06 & 3.09 to 3.10 were a household name before pre-ABA era.

The house hold string flick at 3.09 & 4.52 was also similarly used in CHURA LIYA HAI TUMNE TITLE TRAX from 1.28 to 1.30 and 4.30 and TUM MILE from MY NAME IS ANTHONY GONSALVES from 2.33 to 2.34 for sahi desired purpose.

Alka's line, deewanapanNNNNNN (low twist with bazz trumpet tune sur) from 3.15 to 3.16 is TERRIFIC.

Between 1st & 2nd stanza, a lovely piano piece plays with unplugged beat followed by violin tune with full beats.

2nd stanza

Tune sur is the key especially from 4.30 to 4.32, 4.42 & 4.59

Alka's lines are melodious.

From 4.21 to 4.30, Udit too makes a strong impact.

Alka returns with striking melody emphasis on words TEREEE at 4.34, MILEEE (prolonged emphasis) at 4.37, YEH (feel) at 4.40

The tune sur at 4.44 is a terrific build up for Udit's lines and from 4.44 he once again makes a strong statement with TERE LIYE...HAA (twist from 4.48 to 4.49 has terrific feel that gives a HALKE SE KICK) AAAH.

The strings used from 4.47 to 4.49 & 4.52 to 4.53 were a household name before pre-ABA era.

From 5.26 onwards the soothing female chorus convey the feel factor.

Highlights of this song:

1. Udit's soothing feel vocal's and alka's striking melodious vocals.

2. The underlying beat, bazz trumpet tune sur (and wherever else mentioned especially in stanzas).

3. The beginning flute piece, 4 hit matka effect, household string instrument, and tune pieces between both stanza gaps.

This song is very rich in melody whereby the feel factor in vocals is aided by accompanying trumpet tune sur.

Dil Mera Todo Na

The song starts with the household string instrument followed by lovely flute piece.

Udit sings with utter soothing feel especially the line MERA.

The piano hits from 0.50 to 0.51 have a very good impact when heard in overall lines from 0.43 to 0.54

From 0.54 & 1.25 onwards, the soothing female chorus effect behind Udit's lines is mesmerizing.

The mandolin from 0.58 to 1.00 is awesome.

The fast paced tabla beats from 1.00 to 1.01, 1.31 to 1.32 were also used in beginning of stanzas of KYUN KI ITNA PYAR, DIL KE BADLE SANAM & MERI NAS NAS MEIN TUM HO to mention a few.

The keyboard tune sur from 1.04 to 1.06, 1.13 is of great effect.

Udit's line HAAH with quick feel twist is great.

The tune sur from 1.21 to 1.22 has very good effect when heard in overall lines from 1.14 to 1.24

The bazz trumpet from 1.29 to 1.30, 1.35 to 1.37 & 1.43 to 1.45 has profound emotional effect as tune sur.

Between mukhda & 1st stanza, the lovely traditional flute plays followed by bansuri and haunt chorus. The rising keyboard composition pattern from 2.27 to 2.32 is well structured.

1st stanza

The song starts with household fast paced tabla beats and the trumpet tune sur and keys effect from 2.46 to 2.47

The continuous tune sur from 2.53 to 3.00 gives good subtle effect.

The flute tune from 3.07 to 3.08 have a very good impact when heard in overall lines from 3.00 to 3.10

The low subtle twist on line HAAI at 2.59

Between 1st & 2nd stanza, an intense violin piece plays conveying feel and emotion factor, followed by likeable trumpet tune (especially with great sur from 4.14 to 4.15) and quick piano keys flick.

2nd stanza

The song starts with household fast paced tabla beats and the trumpet tune sur and keys effect from 2.46 to 2.47

The continuous tune sur from 4.18 to 4.20, 4.23 to 4.25 gives good subtle effect.

The piano keys from 4.30 to 4.31 are likeable.

The continuous tune sur from 4.36 to 4.43 gives good subtle effect.

The flute tune from 4.50 to 4.51 have a very good impact when heard in overall lines from 4.43 to 3.10

The key in BOTH the stanzas is the laid back composition pattern with subtle vocals that very heavily rely upon the extended tune sur.

The soothing female chorus croons along with Udit's vocals with emphasis on his line TODOOOOO NAAAAAA (prolonged feel) and finishes off the song in solo mode.

Highlights of this song:

1. Udit's subtle vocals (especially the quick feel twist HAAAH) and soothing female chorus.

2. Rising keyboard pattern, flute tune, trumpet tune sur, piano flicks, continuous tune sur and dard bhari raga tune.

3. The house hold fast paced tabla beats and string instrument.

4. This song relies on the rich music arrangement and more importantly the TUNE SUR for the overall emotional feel impact.

Just Walk Into My Life

Shaan does a commendable job to accomodate the singing style of the on-screen challenged actor.

The song starts with typical signature string type Indian instrument with inherent twists (also used in starting of KABHI NA SUKUUN AAYA from KOI AAP SA and MERI NAS NAS from DIL NE JISE AAPNA KAHA).

Jayesh Gandhi's catchy soulful croons OOOOOOO (HISTORY prolonged twist) from 0.51 to 0.54 & 1.00 to 1.03 strike a chord and win over the listener.

From 1.07 to 1.08 & 1.12 to 1.13, JAANEMAN (terrific innocent feel).

Shaan's lines, LUUUUN (desperation high note, begging for sympathy) at 1.16, JAANE (great innocent feel twist) MAN at 1.17

The trumpet theme piece with emotional feel plays from 1.18 to 1.28, and the underlying 'rhythmic laidback' beats join in from 1.21 onwards.

Between 1.33 to 1.34 & 1.41 to 1.42, the  feel good string instrument tune is of great cause.

From 1.44 to 1.45, the 3 raw matka beat gives sahi desired effect.

Between mukhda & 1st stanza, the feel good guitar riffs (which remind of a particular episode of Tom N Jerry whereby Jerry is going in a boat) are followed by trumpet theme piece with emotional feel.

1st stanza

Shaan's lines, TODO NA * 2, CHOODO NA * 2 (slight voice deepening), tum se HAAAA (typical HR feel good twist) AAAAAI.

The feel good harmonica tune sur in between 2.28 & 2.41 is of great cause.

From 2.54 to 2.55, groovy tune sur plays.

Betweeen 1st & 2nd stanza, subtle laidback piano piece plays followed by trumpet theme piece with emotional feel.

2nd stanza

Shaan's lines, PYAARA * 2, YAARA * 2 (slight voice deepening), tum hi HOOOO (typical HR feel good twist) OOOO.

The feel good harmonica tune sur in between 3.26 & 3.39 is of great cause.

From 3.52 to 3.53, a groovy synthetic flute tune plays.

Between 2nd & 3rd stanza, the raga tune gets penetratingly heavy onto the listener's ear followed by trumpet theme piece with emotional feel.

3rd stanza

Sunithi shows her versatility in lines, PYAAR DUN * 2, VAAR DUN * 2 (slight voice deepening feel gives HALKE SE KICK), tum KAROO (typical HR feel good twist from 4.37 to 4.39) OOOOOOO.

The  feel good harmonica tune sur in between 4.24 & 4.37 is of great cause.

At 4.50, female chorus UUU (up) UUU (down) gives terrific soothing effect.

The unplugged feel near the end is great, especially where Shaan prolongs raakhLUUUUUUU (TERRIFIC sudden high note) at 5.26 and JAA NEE (subtle feel plea twist depicting a sense of bebasi, hopelessness and dejection) MAN at 5.27, after which the song finishes with da combo of thumpet theme piece and soothing female chorus both with a heavy dose of emotional quotient.

Highlights of this song:

1. Shaan's innocent feel vocals and Sunithi's soothing and comforting feel good vocals (not her usual self).

2. Jayesh Gandhi's alaaps especially at the beginning that just set a great tone for rest of the song by bringing da listeners into da zone.

3. Underlying rhythmically laidback beats.

4. The 3 raw matka beat effect, feel good harmonica piece, household string based tune at start and trumpet theme piece used intermittently throughout the song.

The vocals do full justice to the terrific melody to get out the desired emotional feel.

Raat Hai Soyi Soyi

The song begins by soothing female chorus and lovely piano piece.

From 0.38 onwards, the whistle plays followed by raga tune.

Sono croons soulfully HO HO HO followed by bazz trumpet. His HOOOO (twist at 1.02) is awesome.

From 1.05 to 1.08, the rising piano notes are brilliant.

From 1.13 to 1.15 &1.20 to 1.23, the KILLER raga tune play (ufffff, ustad HR take a bow, terrific). If the listener is into semi-classical music, this tune will simply blow him/her away.

The keyboard flick from 1.26 to 1.28 is mesmerizing followed by 3 slow drum beats at 1.29.

The piano keys and trumpet give good tune sur after this. A special mention for subtle soothing female chorus from 1.57 to 2.01

Between mukhda & 1st stanza, the lovely piano piece plays followed by soothing female chorus (one of HR's biggest weapons pre-ABA).

1st stanza

Sung with great soothness and feel, a trademark of sonu nigam.

The click type hard beat hits it. Tune sur is great along with the raga instrument.

From 3.12 to 3.22, the quick piano keys are the key behind the lines tujhe dhundu yahan/wahan.

At 3.30, BIKHRI (great emotion) after which the soothing female chorus get back to what they do best.

From 3.39 to 3.56, the 4 repetitive keys after words HOO HOO give good effect.

Between 1st & 2nd stanza, The subtle laidback music arrangement i.e. mesmerizing piano piece reminds of same spot of LAGNE LAGE HO from KMHJ. This is followed by whistle piece, soothing female chorus and raga tune.

2nd stanza

Again sung with great soothness and feel

Raaga tune sur has more profound impact, except that it has same pattern like 1st stanza.

At 5.19, TEHRI (great emotion).

Sonu's line, HOOO (terrific feel twist) from 6.16 to 6.19

From 6.20, the whistle and female soothing chorus in unplugged mode are mind-blowing.

Highlights of this song:

1. Sonu's vocals that ooze with feel and emotions.

2. The killer raga tune, tune pieces between both stanza gaps and tune sur wherever mentioned.

3. The soothing female chorus and the 3 slow drum beats that give good build-up.

Papa Mere Papa

If Carbon Copy from Yeh Jalwa was a father son 'man-to-man' talk, then this song is the kids version to feel their father-son relationship.

Baby Aparna starts with his emotional plea vocals.

The tune pattern from 0.59 to 1.09 has an emotional feel in it.

The upward keyboard flick pattern from 1.12 to 1.15 was similarly used from 0.30 to 0.32 in SEENE MEIN DIL from KOI AAP SA.

The 3 lazy beats from 1.14 to 1.15, 1.53 to 1.54 & 2.13 to 2.14 were also similarly used in AAP KI KHATA from BARDAASHT from 1.16 to 1.17 & in KABHI NA SUKOON AAYA from KOI AAP SA from from 1.21 to 1.22

The female chorus croon with feel factor followed by an emotional violin tune.

Baby Aparna's optimistic prolonged line PAPAAAAAAA from 1.38 to 1.42 would make any father give in to his kid.

The traditional flute piece from 2.09 to 2.11 is pleasant.

Between mukhda & 1st stanza, a feel good harmonica tune plays followed by awesome upward keyboard flick. The synthetic piece that follows is an interesting combination. An Indian string based tune plays followed by female chorus and mesmerizing traditional flute.

1st stanza

The 3 lazy beats from 3.08 to 3.09 & 3.25 to 3.26 give sahi desired effect.

The composition pattern is likeable and sung with feel factor.

The flute piece from 3.11 to 3.21 and the keyboard tune sur from 3.27 to 3.35 enhance the feel factor.

The interlude gap from 3.18 to 3.23 is likeable and it enhances the overall build up process.

Sonu's unplugged lines along with keyboard tune sur from 3.35 to 3.43 depict the innocent vulnerability of the protagonist.

The quick repetitive keyboard flicks from 3.55 to 4.05 is likeable.

Between 1st & 2nd stanza, a subtle piano piece plays in unplugged mode followed by intense violin piece, and the interesting mix of synthetic tune returns. The feel good trumpet (which is heard in Indian restaurants) along with peppy prom-nite beats and soothing female chorus plays to brighten up the mood.

2nd stanza

Shreya sings with innocently melodious vocals.

The 3 lazy beats from 5.03 to 5.05 give sahi desired effect.

The composition pattern is likeable and sung with feel factor.

The traditional flute piece from 5.10 to 5.12 is TERRIFIC and conveys the emotional feel.

The interlude gap from 5.12 to 5.17 is likeable and it enhances the overall build up effect.

Shreya's unplugged lines along with keyboard tune sur from 5.29 to 5.37 depict the innocent vulnerability of the protagonist.

Shreya's line KAUNNNN (prolonged emphasis feel) followed by flute from 5.45 to 5.48 conveys sympathy.

The quick repetitive keyboard flicks from 5.50 to 6.00, 6.11 to 6.22 is likeable.

The melodious vocals croon from 6.22 onwards followed by a mesmerizing flute piece that was also used in stanza gap of DIL MERA TODO NA.

Highlights of this song:

1. Sonu's soothing feel vocals and shreya's innocently melodious vocals.

2. The 3 lazy beats, piano piece pattern and upward flick at start, violin piece, mesmerizing traditional flute that is a musical treat.

3. Soothing female chorus.

The composition pattern of this song is subtle and sung with emotional feel vocals to convey a sympathy of innocent vulnerability.

Teri Galiyon Se

Sunithi chauhan is tailor made for this song and Jayesh Gandhi compliments her very well.

The beat thumps from 0.20 onwards.

Jayesh Gandhi arrives with his croons from 0.24 onwards to build up the song.

The raga tune plays in between 0.40 and 1.04 along with western beats, it is a deadly extreme combo.

Jayesh's line GALIYON (feel) from 1.06 to 1.07

Basically from 1.05 to 1.49 is great vocal build up especially from 1.42 to 1.49 whereby the groovy vocals give an international feel effect.

After this tremendous build up, the full-on beats finally hit it from 1.50 onwards.

The repetitive tune pattern from 1.50 to 1.58 is damn catchy.

Jayesh gives it his all in line BABASTA HAI from 2.05 to 2.07 (terrific).

Vintage Sunithi at her best returns the favor and croons wholeheartedly with fulltu attitude BABASTA HAI from 2.08 to 2.10 (HISTORY).

The oriental flute plays from 2.17 to 2.20

Sunithi's high pitched line ISHQ at 2.20 (terrific).

The string based raga flick at 2.25 gives halke se kick.

Suzanne's lines, YOU DRIVE ME CRAZY from 2.26 to 2.28 gets the listener into the groove.

Jayesh pours his heart out GALIYON (gradual rising notes) from 2.33 to 2.35

Between mukhda & 1st stanza, the beat skip effect along with clap effect and subtle female croons gives an international feel from 2.38 to 2.54. A groovy tune plays along with full on beats along with Jayesh's croons followed by the damn catchy repettive tune pattern from 3.06 to 3.10

1st stanza

Sunithi carries on her western impact vocals and is complimented by Jayesh's soulful croons.

The beats come to the party too and enhance the vocal effect.

Sunithi's line, AAA-AA-GG at 3.36 (awesome notes).

The string based raga flick at 4.02 gives halke se kick.

Sunithi's lines, BAN GAYA from 4.03 (additional high pitched vocals) JUNOON (prolonged voice deepening) from 4.04 to 4.06

Between 1st & 2nd stanza, an Indian classical instrument along with raga tune plays from 4.24 to 4.38 and it is a deadly extreme fuzion along with western beats.

2nd stanza

Sunithi carries on her western impact vocals and is complimented by Jayesh's soulful croons.

The beats come to the party too and enhance the vocal effect.

The build up lines AFSANA * 3 (awesome) from 5.26 to 5.29

Sunithi's lines, ISHQ MEIN TERE-EE-EE-EE (terrific up down PENETRATING VOCALS LEFT ABRUPTLY WITH ECHO EFFECT in unplugged mode at 5.34, HISTORY).

The BEST part is from 5.32 to 5.38

Sunithi's line, TEREE (catchy) - EE-EE (HISTORY abrupt penetrating emphasis vocal leave with quick repetitive echo effect that gives KICK) from 5.33 to 5.34 in unplugged mode, BAN GAYA (utter passion) at 5.35, JUNOOO (HISTORY classical feel twist along with quick catchy raga tune) OOOOON from 5.35 to 5.37 in unplugged mode, OH YEAH (the listener totally feels the HISTORY vocal kill effect) at 5.38 whereby Sunithi Chauhan is at her vintage best.

Jayesh adds Indian classical notes from 5.48 onwards and this is cult stuff in a western musically arranged song.

Sunithi and Suzanne join in the end with their croons from 5.57 onwards and sunithi's YEEAAA from 6.16 to 6.18 (terrific).

The song finishes with an international feel effect in the same manner in which it started.

Highlights of this song:

1. The tremendous build up of the song at the start.

2. The international feel effect at start and end of song.

3. The deadly east-west fuzion combo of full on western beats and Indian classical instruments.

4. Sunithi's impact penetrating vocals that are complimented by Jayesh's soulful croons.

5. The history lines from 2.08 to 2.10 and 5.36 to 5.38 are highlight of this song.

This is the BEST / ULTIMATE EAST WEST COMBO till date by Himesh.

It is a flawless masterpiece and each and every note is melody.

It is truly one of its kind and basically such unique fuzions are made after decades.

Himesh should make more inroads into this genre coz his experimentation has CLICKED BIG TIME with this one.

Deewanapan Deewaangee - Piano

Just Walk Into My Life - Adlip

Verdict

This album has:

A CULT INDO - WEST FUZION MIX in form of Teri Galiyon Se, which is Himesh's best works of pre ABA era in this experimental genre

and

TERRIFIC EMOTIONAL APPEAL thanks to songs like Deewanapan Deewaangee, Just Walk Into My Life, Dil Mera Todo Na, Raat Hai Soyi Soyi & Papa Mere Papa.

Himesh set his heart into this album, especially in terms of da subtle feel mood n ambience created in terms of emotional connect n bond in between father son/daugher relationship in Raat Hai Soyi Soyi & Papa Mere Papa.

My Picks

1. Teri Galiyon Se

Its an EAST WEST COMBO FUZION. Underlying orchestration is WESTERN with INDIAN instruments. RAGA from 0.41 to 0.51 & 4.24 to 4.38, Off-da-hook mermerizing groovy flute from 1.48 to 1.50, 2.17 to 2.20, 2.27 to 2.28 & 4.04 to 4.05The repetitive tune piece from 1.50 to 1.58 & 3.06 to 3.10 is damn catchy. The string based raga flick at 2.25 & 4.02 gives halke se kick. BEST PART is Sunithi's lines ISHQ ME TEREEE - EE (HISTORY emphasis voice leave with echo effect) BAN GAYA JUNOON (HISTORY classical twist) OH YEAH (seductive feel croons deliver KILL effect) from 5.31 to 5.38 along with a catchy quick underlying raga instrument. It is very catchy in terms of melody. OFF-DA-HOOK string based raga instrument catches da listener's classical pulse at 2.24 & 3.40. Sunithi's line, BABASTA HAI (off-da-hook fulltu) from 2.08 to 2.10 and Jayesh Gandhi's high pitched alaap towards the end from 5.48 onwards connect and strike a chord.

2. Deewanapan Deewaangee & Just Walk Into My Life (tie)

Just Walk Into My Life

http://www.youtube.com/?watch?v=sDuxHm6GmC8

The song begins with household guitar riffs theme piece from 0.26 to 0.44, Jayesh Gandhi bowls over the listener by pouring his heart out in his HISTORY high pitched soulful croon HOOOO from 0.51 to 0.54 & 1.00 to 1.04 that strikes a chord big time. Shaan's best mukhda line is RAKHLU JAANEMAN (HISTORY typical unique HR melody) from 1.44 to 1.47, 1.49 to 1.52 & 1.54 to 1.58 sung with innocent desperation feel vocals that konnekt. The soothing female chorus kick in from 4.50 to 4.52

3. Raat Hai Soyi Soyi

It is another winner from Himesh - Sonu combo. Its an incredible heart touching melody by Himesh with a sense of thehrav n subtle feel mood. The conversation between Ajay and child artiste is so masoom / innocent, especially the line CHALA KYUN JAATA HAI from 0.34 to 0.35, behind this conversation is a KILLER emotional feel raga tune from 0.18 to 0.38 that bowls over da listener. Terrific intense penetrating raga tune from 1.14 to 1.24.TERRIFIC penetrating intense raga piece from 1.13 to 1.16 & 1.20 to 1.23 that has a strong emotional connect. HISTORY fulltu female chorus from 1.59 to 2.03 just wins over da listener. Terrific soothing female chorus kicks in from 2.32 to 2.42 in between 1st stanza gap, from 5.21 to 5.25 and towards the end at a higher scale from 6.20 to end along with pleasant whistle in unplugged mode.As Himesh has always said that every child should be indebited to their parents, listening this song (along with the meaning in its lyrics) and recalling whatsoever a father has done for a son thus far for his upbringing n given his best to fulfil all his wishes despite facing hardship, will bring a tear and / or leave da listener gutted outta gratitude.

This is one of Himesh's most soulful 'composed only' song, and it has an eternal konnekt (in terms of the bond/relationship between father n daughter, n the adlip conversation at start between Ajay Devgn n Baby Aparna is heartwarming). It can leave the listener gutted while listening to it. Raaga tunes (History penetrating from 1.20 to 1.23), female chorus, pleasant whistle theme piece (terrific combo from 6.20 to end) n portions in between stanza gaps konnekt with listener. Sonu's line, HO-OOO (Off-da-hook feel twist) from 6.17 to 6.19

Pleasant soothing whistle piece, likeable piano keys in between stanza gaps, emotional feel raga tune at start n in between 2nd stanza gap, Angel-istic female chorus especially from 6.20 to end, and Sonu's subtle desperation feel vocals, especially his line HOOOO from 6.17 to 6.19 at the end. The song is a soothing pleasant n relaxing hear with a calming influence. Sunte waqt yeh gaana ek alag sa sukoon aur shanti deta hai.

4. Dil Mera Todo Na

It is an emotional feel song depicting the emotions and sentiments of a mentally challenged lover who doesn't want his heart to be broken. The rising female chorus make their presence felt and win over the listener from 0.57 to 0.59 & 1.28 to 1.30, Udit's line, TUMHI SE YEH (awesome sooth feel) from 0.53 to 0.55 & 1.24 to 1.26, KEHNA HAI-AAAI (terrific feel twist) from 0.57 to 0.59 & 1.28 to 1.30, TERE REHNA HAI (terrific desperation plea emphasis twist) from 1.11 to 1.12 & 1.42 to 1.43, The continuous tune from 1.03 to 1.14 & 1.35 to 1.45 gives great sur to Udit's mukhda vocals. The fast paced tabla hits from 1.00 to 1.02 & 1.31 to 1.33 give intermittent kick. The pleasantly likable bansuri piece from 1.56 to 2.21 depicts the innocence of an outdoor small town setting followed by mysterious male haunt feel vocals from 2.23 to 2.26 in between 1st stanza gap. The emotional feel violin piece from 3.31 to 3.52 in between 2nd stanza gap depicts the helpless state of the lover who cannot get things to be his way because he is mentally challenged and thus has lack of control, say and authority over proceedings but can only put forward his wishes to be fulfilled and hope for the best.

5. Papa Mere Papa

Woh joh keera nahi hota tha? those grass insects! Haan, wohi! Himesh used that insect sound in da background during conversations from 0.13 to 0.38 in RAAT HAI SOYI SOYI n from start to 0.20 in TERI GALIYON SE to depict that the conversations were taking place out there in an open backdrop setting.

Listen