Jaana Nahi Tha

The song starts with a feel good guitar piece along with likeable piano piece in semi-plugged mode until 0.13

From 0.13 onwards, Sonu kick starts proceedings with his utter soothing feel vocals.

The feel good guitar riffs from 0.16 to 0.18, 0.36 to 0.38 & 0.42 to 0.43, the awesome rising haunt tune pattern from 0.21 to 0.25 and the quick rising tune flick with 4 echo effect in unplugged mode giving a feel of pahadi ilaka from 0.52 to 0.54 is of great cause.

The feel good trumpet plays from 0.18 to 0.19, 0.30 to 0.32,

The core mukhda high note OH SANAM (typical unique HR melody) 0.27 to 0.28, 1.38 to 1.39 is best melody of the song.

The start stop gap in song at 0.54 is effective.

The drum hits in SYNC with Sonu's & Alka's vocals followed by increased drum hit tempo from 0.55 to 0.57, 1.32 to 1.35 & 1.54 to 1.57 gives sahi desired effect.

Sonu's lines, deewane-PANN KIIIIII (subtle low feel twist) from 1.18 to 1.20

Alka arrives with her melodious vocals.

Alka's line, KAR LIYA * 6 (repetitive melodiously innocent hook) from 1.42 to 1.53, OH (high note steep melody) at 2.00

The feel good trumpet from 1.46 to 1.48 enhances the pleasant melody in her lines.

Between mukhda & 1st stanza, the feel good guitar piece plays followed by likeable tune piece and soothing feel chorus.

1st stanza

Sonu lines in semi-plugged mode, THA-AAAAA (great subtle low twist) from 2.29 to 2.30, THI-IIIII (great subtle low twist) from 2.35 to 2.36

From 2.40 to 3.02, Sonu's lines are feel good along with free flowing beats.

The guitar riff from 3.02 to 3.04 is of great cause.

Sonu's line, TERI (subtle low feel twist) from 3.12 to 3.13

Between 1st & 2nd stanza, a likeable piano piece is joined in by soothing female chorus in semi-plugged mode. The quick rising piano flick from 4.02 to 4.04 was a trademark household instrumental effect in terms of tune pattern that was used frequently in the pre-ABA era. The feel good guitar piece is followed by an effective quick repetitive tune piece from 4.13 to 4.16

2nd stanza

Sonu lines in semi-plugged mode, ROG-OOGG (great subtle low twist) from 4.17 to 4.18, NAHI-IIIII (great subtle low twist) from 4.23 to 4.24

From 4.28 to 4.39, Sonu's lines are feel good along with free flowing beats.

Alka arrives again and enhances the melodious aspect of the stanza.

Alka's lines, ishq KIYA (striking melody) at 4.47, nahi THA-AAA (gradual high pitched melody) at 5.03, TUMPE YAKEEN (pinching melody) from 5.10 to 5.11

The guitar riff from 4.50 to 4.52 is of great cause.

By the time the additional chorus join in Sonu's vocals from 5.23 onwards, the mukhda lines are in full form as the listener feels them till the end.

Highlights of this song:

1. Sonu's sooth feel vocals, with emphasis on OH SANAM (typical unique HR melody).

2. Alka's melodious vocals, with emphasis on OH (high note steep melody) at 2.00, ishq KIYA (striking melody) at 4.47 & TUMPE YAKEEN (pinching melody) from 5.10 to 5.11

3. The underlying free flowing beats, feel good guitar piece, likeable piano piece, feel good trumpet and the synchronized drum hits along with mukhda vocals.

4. Soothing female chorus UUUU and additional vocals from 5.23 to end of the song.

Tune Di Bekarari

The song begins with an emotional intense violin piece in unplugged mode.

From 0.16 to 0.31, Jayesh theme piece croons have passionate emphasis.

The synthetic piano theme piece in unplugged mode from 0.32 to 0.39 builds up the song.

The free flowing beats join in from 0.40 onwards.

The intense violin piece returns from 0.47 to 0.55 followed by Shaan's croons.

Jayesh's intermittent croon BEKARAARI (feel good) from 1.14 to 1.15 & 1.43 to 1.44 is of great cause.

The synthetic piano theme piece from 1.18 to 1.24 is used to great effect.

The quick 3 key groovy descending tune sur from 1.28 to 1.29 & 1.59 to 2.00 gives the haunt feel.

Shreya compliments the feel of the song with her melodious vocals.

Shaan's lines AE MERE SANAM (subtle feel) from 2.01 to 2.03

Between mukhda & 1st stanza, Jayesh starts out with gradually rising notes and then fully expresses himself from 2.09 to 2.11 (passionate emphasis) & 2.16 to 2.20 (feel good bindaas emphasis) along with soothing female chorus UUUU. The synthetic piano theme piece returns followed by a quick lovely jingle chime flick effect from 2.26 to 2.28

1st stanza

The composition pattern on Shaan's lines reflects a haunt approach.

The composition note on Shaan's line SEEE from 2.34 to 2.35 followed by soothing female chorus UUUU enhances the haunt feel.

The intense violin piece from 2.42 to 2.43 is of great cause.

Shreya's lines from 2.44 to 2.51 are simple and well structured.

Between 1st & 2nd stanza, an intense violin piece plays in semi-plugged mode followed Jayesh's passionate emphasis theme piece croons along with intermittent cute tune at 3.26, 3.30, 3.33 & 3.38. The synthetic piano theme piece returns followed by a quick lovely jingle chime flick effect from 3.45 to 3.47

2nd stanza

The composition pattern on Shaan's lines reflects a haunt approach.

The composition note on Shaan's line MEEE from 3.53 to 3.54 followed by soothing female chorus UUUU enhances the haunt feel.

The intermittent intense violin piece from 3.49 to 3.50 & 3.53 to 3.56 is of great cause.

Shreya's rising alaap OOOOO from 4.00 to 4.02 is of great cause.

Shreya's lines from 4.02 to 4.10 are simple and well structured.

Shreya's lines TU RAHE (awesome feel twist) from 4.10 to 4.11

Shaan's lines KARAAR (desperation plea) from 4.30 to 4.31

The likeable piano piece from 4.40 to 4.44 & 4.50 to 4.53 brings some thehrav to the earlier passionately intense proceedings.

Shaan's lines DEEE (sooth feel) from 4.44 to 4.45 along with soothing female chorus.

Shreya ends the song with her melodious feel croons.

Highlights of this song:

1. Shaan's passionately intense vocals and Shreya's melodious feel vocals.

2. Jayesh's passionate emphasis theme piece and soothing female chorus UUUU.

3. The underlying free flowing beats, quick descending 3 key groovy haunt tune sur, the synthetic piano theme piece, the emotional intense violin pieces, the quick lovely jingle chime flick effect, the likeable piano piece near the end and cute tune between 2nd stanza gap.

Aakhiyaan Ladaa Ja

Alka starts off with her melodious vocals in unplugged mode, the subtle sound in background is like "dhuan sa uth raha hai Jannat mein".

From 0.35 to 0.45, the household string instrument with an inherent twist that was also used in beginning of KABHI NA SUKUN AAYA (KOI AAP SA) & MERI NAS NAS MEIN (DIL NE JISE AAPNA KAHA).

The beats have an underlying dosage of bazz sound and the waterfall type sound from 0.50 to 0.59 is awesome.

The oriental flute from 1.00 to 1.21 was also used at start of IS TARAH DEEWANE (INSAN) & it is mesmerizing especially from 1.08 to 1.10 & 1.18 to 1.20 and the listener goes into memory lane straight to serene tropical locations. Overall a musical treat/delight along with subtle guitar flicks.

The synthetic piano (with top notch quality) piece along with the flute from 1.21 to 1.32 piece gives awesome effect.

Alka's line YEEEEH (halke se voice rise) at 1.45

The soothing female chorus from 1.51 to 1.53 and the whispers from 2.01 to 2.02 add an interesting dimension.

The tune pattern from 2.00 to 2.01, 2.21 to 2.22, 2.43 to 2.44, 5.13 to 5.15 & 5.36 to 5.37 was similarly used from 1.23 to 1.25, 1.53 to 1.57, 3.08 to 3.12 & 4.31 to 4.35 in DIL KE MAARE HAIN from VAAH!LIFE HO TOH AISI.

The profound tabla beats in the underlying beat from 2.14 to 2.21 & 2.35 to 2.42 give real kick to the song.

Alka's lines SANAMMMMM (prolonged) MMMMM (prolonged twist) followed by whispers from 2.19 to 2.23, 2.40 to 2.45, 4.02 to 4.06 is awesome.

Alka's croons HOOO at 2.26, 2.29, 2.31, 2.34 are feelgood melody.

Between mukhda & 1st stanza, feel good laidback guitar piece plays followed by soothing female chorus and synthetic piano piece (just listen to its quality!).

1st stanza

The tabla beats and guitar piece enhance Alka's vocals.

Alka continues her melody with emphasis on lines JAA (halke se voice rise) NAMMMM(pinch) from 3.31 to 3.32 & TUU (halke se voice rise) NEEEE from to 3.38 to 3.40

The underlying bazz sound from 3.45 to 3.46 is great.

Alka's HAAA at 3.50, HMMM at 3.53 & 3.56 is quite melodious.

Between 1st & 2nd stanza, a feel good saxophone (giving a feeling of dining in a 5 star restaurant) plays giving a subtle laidback mood. The quick rising keyboard flick (used often in pre-ABA songs) from 4.17 to 4.18 followed by the BUILD UP until 4.27, followed by the 2nd quick rising keyboard flick at 4.28 (terrific COMPLETION of instrumentation build up, HATS OFF!), followed by mesmerizing oriental flute piece and synthetic piano piece.

2nd stanza

Udit arrives onto the musical scene to bring more 'thehrav' to the already 'laidback' proceedings.

The tabla beats and guitar piece enhance his vocals.

The continuous trumpet behind Udit's lines from 5.02 to 5.12 gives an overall pleasant feel.

Udit's lines from 5.19 to end are utterly soothing, with twists in LADAJA (feel twist) at 5.19, 5.40, SAMAJA (feel twist) at 5.27 and Alka's croons enhance the overall melodious effect.

The tune pattern at 6.00 is similar to tune pattern from 0.51 to 0.53 in CHURA LO from TAARZAN - THE WONDER CAR.

Highlights of this song:

1. The heavenly sound at start, oriental flute, house hold string instrument (with inherent twist), the bazz sound, the waterfall effect, the whisper effect, the tabla beats, trumpet, feel good guitar and synthetic keyboard quality.

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

3. Between 1st and 2nd stanza, the buildup process by 1st quick rising keyboard flick followed by feel good trumpet and complete effect by the 2nd quick rising keyboard flick that gives a kick and is an instrumental treat.

An added point is the Alka's laughs that are just so naughty and they would make the listener smile if not laugh.

Kaun Kehta Hai

The song begins with the same semi-plugged beats at start of BAN JAAIYE from SILSILAY, followed by feel good tune and soothing female chorus.

The beat and instrument from 0.21 onwards has a traditional Indian feel to it like in the 90's.

The soothing female chorus kicks in again from 0.31 to 0.42

Udit's subtle feel vocals along with repetitive quick key flicks from 0.43 to 1.02 and help in the build up of song.

Shreya croons with her innocent melodious vocals along with full beats that are free flowing.

Shreya's line CHAHE (classical up twist) at 1.16

The fast paced tabla pattern from 1.21 to 1.22, 1.32 to 1.33 & 1.53 to 1.54 was similarly used from 1.24 to 1.26 in HUM TUMSE DIL from JULIE.

The female chorus kicks in from 1.31 to 1.38,

The composition pattern of the mukhda is simple yet likeable.

Between mukhda and 1st stanza, a feel good Indian string instrument plays followed by soothing female chorus.

1st stanza

The fast paced tabla pattern from 2.25 to 2.26 was also used from 3.10 to 3.12 in KYUN KI TITLE TRAX.

Shreya sings with feel good innocent vocals on a simple laidback composition pattern.

Shreya's line SAPNO KE (twist) at 2.52

Between 1st and 2nd stanza, the harmonium plays along with underlying raw beat pattern followed by a feel good tune.

2nd stanza

The fast paced tabla pattern from 3.40 to 3.41 was also used from 4.32 to 4.34 in KYUN KI TITLE TRAX.

Udit sings with feel good innocent vocals on a simple laidback composition pattern.

Udit's lines NA JAANE (middle octave impact) at 3.44 & 3.49, AAFSANE (soothing feel) from 3.57 to 3.58, YAADON (middle octave impact) from 4.00 to 4.01

The soothing female chorus from 4.43 to end is a musical treat and one of highlights of HR's pre-ABA songs.

Highlights of this song:

1. Udit's subtle feel vocals and shreya's innocent melodious feel good vocals.

2. The underlying beats and fast paced heavy tabla pattern that gives sahi desired effect.

3. The soothing female chorus especially at end.

Imli Imli

In every Himesh album before the ABA era, there had to be at least one item number and Blackmail was no exception.

The song starts with heavy African drums and wicked dodgy male vocals.

The cunning wicked flute piece plays from 0.12 to 0.26 along with seductive female croons and loud female whispers.

Himesh also used such loud female whispers to great effect in line CHURALIYA from 3.47 to 3.49 in CHURA LIYA HAI TUMNE TITLE TRAX, in line MIRCHI from 0.36 to 0.39 in MOHABBAT HAI MIRCHI from CHURA LIYA HAI TUMNE and line JALWA from 0.53 to 0.54, 1.00 to 1.01, 1.07 to 1.08 & 1.14 to 1.15 in O JAANE JIGAR from YEH HAI JALWA.

Hema Serdasai's lines IMLI IMLI (halke se feel) followed by flute piece from 2.47 to 2.39 gets the listener into da groove, with emphasis on HAI IMLI (classical feel twist) from 0.37 to 0.39.

Jayesh goes about his usual croons from 0.43 to 0.58

The underlying rhythmic beats kick in from 1.01 onwards.

Hema's line HAI (feel good bindaas) from 1.07 to 1.08 & 1.11 to 1.12

The quick tabla hits at 1.20 & 1.49 give sahi desired effect.

The flute piece from 1.23 to 1.24 & 1.26 to 1.28 enhances the groovy feel.

Hema's line HAI IMLI (classical feel twist) followed by female echo effect ISHQ from 1.31 to 1.35 & 2.00 to 2.05 is of great cause

A repetitive Arabic instrument plays from 1.32 to 1.35

The flute piece in higher tone becomes cute from 1.52 to 1.54 & 1.56 to 1.58

Between mukhda & 1st stanza, an effective Arabian instrument piece from 2.06 to 2.32 is accompanied by Jayesh's intermittent high-pitched croons. Jayesh follows this up with gradually rising build up alaap OOOOO from 0.30 to 0.32 and then he KILLS it with RA (HISTORY classical emphasis twist) BBA 2.33 to 2.34, whereby the tune from 2.33 to 2.40 is typical unique HR melody along with a constant retro bazz sound.

1st stanza

Himesh follows his fixed formula of using repetitive hooks in lines LUBHAYE, BADHAYE & RABBA.

The Arabian instrument is used to good effect in between Hema's lines.

The female chorus along with Hema's repetitive line RABBA from 2.47 to 2.50 & 2.59 to 3.02

Jayesh's croons from 3.15 to 3.27 along with added rhythm are of good cause.

Between 1st & 2nd stanza, a groovy flute piece followed by Arabian instrument tune. Jayesh's line, RA (HISTORY classical emphasis twist) BBA 4.19 to 4.20, RABAA (feel twist) from 4.23 to 4.25 whereby the tune from 4.19 to 4.26 is typical unique HR melody along with a constant retro bazz sound.

2nd stanza

Himesh follows his fixed formula of using repetitive hooks in lines JAGAAYE, BADHAYE & RABBA.

The Arabian instrument is used to good effect in between Hema's lines.

The female chorus along with Hema's repetitive line RABBA from 4.34 to 4.36 & 4.45 to 4.48

Jayesh's croons from 5.01 to 5.12 along with added rhythm and pleasantly likeable bansuri are of good cause.

Jayesh emphasis croons along with intermittent soothing female chorus bring the song near its end, which is eventually finished by Hema's vocals and female loud whisper IMLI that were used for similar effect in line MIRCHI (loud female whispers) from 6.22 to end in MOHABBAT HAI MIRCHI from CHULA LIYA HAI TUMNE.

Highlights of this song:

1. Jayesh's history classical feel emphasis twist croons RABBA (typical unique HR melody) from 2.30 to 2.40 & 4.19 to 4.26 is BEST melody of the song.

2. Hema's seductive feel vocals, loud female whispers, seductive female voice and soothing female chorus.

3. The underlying rhythmic beats with retro bazz sound, Arabian instrument tunes, quick tabla effect, cunning wicked and cute flute piece.

The composition of this song is average but hear it ideally for Jayesh's lines RABBA between both stanza gaps that steal the show.

Listeners can lend an ear to this song when they are in a mood to hear all of pre-ABA in-da-house club numbers.

My Picks

1. Jaana Nahin Tha.

The BEST MELODY in Male lines is Sonu's line OH SANAM (catchy high-pitched) from 0.27 to 0.28 and so on in the song. Alka's lines, KAR LIYA * 3 (innocently melodious) from 1.43 to 1.53, OH (melodious high pitched) from 2.00 to 2.01. Alka's lines in 2nd stanza from 4.40 to 4.51 give a MELODIOUS PINCH, especially the line ISHQ KIYA from 4.46 to 4.47. BEST PART of da song is when additional OFF-DA-HOOK catchy treble male chorus join in from 5.23 onwards till end, to get da listener into da zone.

2. Tune Di Bekarari.

3. Aakhiyan Lada Ja.

The mesmerizing oriental flute piece from 1.00 to 1.21 is catchy. The BEST INSTRUMENTAL piece in song is in between 2nd stanza gap when a feel good saxophone (giving a feeling of dining in a 5 star restaurant) plays giving a subtle laidback mood. The quick rising keyboard flick (used often in pre-ABA songs) from 4.17 to 4.18 followed by the BUILD UP until 4.27, followed by the 2nd quick rising keyboard flick at 4.28 (terrific COMPLETION of instrumentation build up, HATS OFF!), followed by mesmerizing oriental flute piece.

4. Imli Imli.

It is an okay sokay item/club song in totality. But do check out Jayesh Gandhi's catchy soulful croons RABBA RABBA (HISTORY classical twists) on typical unique HR melody from 2.30 to 2.40 & 4.19 to 4.26 in between both stanza gaps.

5. Kaun Kehta Hai.

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