Yeh Dil To Mila Hai

The song begins with Indian string-based instrument until 0.22 that was similarly used (only the instrument, not the tune pattern) from 0.51 to 1.11 in WOH TASSAVUR KA AALAM from AAITRAAZ.

Alka vocals in semi plugged mode build up da song, along with likeable piano flicks from 0.30 to 0.31 & 0.35 to 0.36, soothing female chorus from 0.40 to 0.42 and drum skips from 0.53 to 1.04 with an underlying faint groovy tune.

Alka's line, KARNE (gradual voice rise gives halke se feel) from 0.34 to 0.35 & 0.47 to 0.48

The deadly cutting-edge synthetic techno instrument that closes in from 1.02 to 1.04 & 1.38 to 1.40 builds SIKE and gives OFF-DA-HOOK COMPLETENESS EFFECT to preceeding lines (terrific instrument selection and its use throughout the other song portions).

Sonu takes over and the rhythmic free flowing beats kick in from 1.06 onwards, note the tune sur at right places at the ending of words.

Between mukhda & 1st stanza, a lovely piano piece plays

1st stanza

Alka'a line, KYUN JAANE KYUN (HISTORY groovy tune sur at 2.27), KYUN LAGI LAGAN (HISTORY groovy tune sur at 2.29)

Alka's line, ISHQ KA HAI YEH (HISTORY tune sur at 2.38), KAUN SA MAQAM (HISTORY tune sur at 2.40)

Alka's line, PAL (quick emphasis typical unique HR melody twist) at 2.44 that was similarly used in her line, PYAR AA (quick emphasis typical unique HR melody twist) YA from 2.38 to 2.39 in KABHI NA SUKOON AAYA from KOI AAP SA, and her line, HAI (quick emphasis typical unique HR melody twist) from 3.36 to 3.37 in O MAKHNA VE from TAARZAN - THE WONDER CAR.

The quick rising keyboard flick from 2.45 to 2.46 gives completeness effect to her preceeding lines.

Alka's line, BECHAN KARNE LAGA HAI YE (sudden abrupt steep high pitched note, HISTORY emphasis vocals giving melodious pinch) EEEEEE from 2.48 to 2.49, DEEWANA PANNNNNNNN (HISTORY prolonged emphasis vocals giving melodious pinch) from 2.50 to 2.51

The deadly cutting-edge synthetic techno instrument that closes in from 2.51 to 2.53 builds SIKE and gives OFF-DA-HOOK COMPLETENESS EFFECT to Alka's preceeding lines.

From 2.56 onwards, dhadkan miLEEEEIIIIHAAAAAIIYYEEEEE (pinch), sirf tujhe PYAR KARNE(quick desperation feel twist) KE LIYE (pinch), yeh aankhen mili HAIIIIIIIN (pinch), bas tera didar kar NEEEEEEE (desperation, HISTORY at 3.14) ke liye.

Between 1st & 2nd stanza, the tune/chorus actually momentarily jumps one SUR UP behind the underlying beat skip but it returns back to normal default sur when strings hit along with full beats.

Alka Yagnik has already done some terrific history work! Is Sonu Nigam feeling intimidated or insecure at all that he will be completely overshadowed by Alka's PINCHING/STRICKING MELODIOUS vocals? Well his arrogantly response is "just bring it on baby!"

If Alka's weapon is MELODY then Sonu's trump card is his SOOTHNESS and FEEL FACTOR that bowls over the listener.

2nd stanza

Sonu's line, PYAR KI GALI (terrific tune sur up down up at 3.53), KHAAB KA SHEHAR (terrific tune sur up down up at 3.55)

Sonu's line, TUJHE (normal note) - EEE (higher note) from 3.57 to 3.58, HISTORY melody created using just 2 notes.

Soun's line, DE DIYA TUJHE (terrific tune sur up down up HALF NOTE at 3.58), DEKHE NAZAR (terrific tune sur up down up at 4.00)

Sonu's line, ZOR NA CHALE (HISTORY bazz trumpet tune sur at 4.03), JAZBAAT PAR (HISTORY bazz trumpet tune sur at 4.06), DE DIYA TUJHE (HISTORY bazz trumpet tune sur at 4.08)

Sonu's line, TUJHE (normal note) - EEE (higher note) at 4.08, HISTORY melody created using just 2 notes.

Sonu's line, JAANO JIGAR (wins over the listener, HISTORY lyrics n vocals) from 4.09 to 4.11 followed by quick rising keyboard flick that gives completeness effect. TAKE A BOW Sonu, and Himesh for getting the best feel out of him!

Sonu's line, HEEAAAEEEEE (HISTORY composition pattern) from 4.13 to 4.14, GUZAAAAAAR (halke se feel kick) from 4.15 to 4.17

The deadly cutting-edge synthetic techno instrument that closes in from 4.17 to 4.19 builds SIKE and gives OFF-DA-HOOK COMPLETENESS EFFECT to Sonu's preceeding lines.

Highlights of this song:

1. Alka Yagnik's utter melodious vocals.

2. Sonu Nigam's utter soothing feel vocals.

3. History tune sur in both stanza and deadly off-da-hook cutting edge synthetic techno sound to give completeness effect.

4. Underlying rhythmic free flowing beats, Indian string based theme piece used at start, likeable piano pieces and drum skips.

5. Soothing female background chorus.

This is HISTORY work and one of BEST EVER songs by Himesh-Sonu jodi combo.

However, it is a pity that neither Alka nor Sonu feature any more in Himesh's music! Well let there be hope in the future!

While any Himesh fan would proudly say that this song was the best song in the Album, every Rehman fan silently knows about the terrific class melody of this song.

Bindiya Chamakne Lagi

This is a song in the celebration  / shaadi genre.

Jayesh does his usual croons but in punjabi style from 0.15 to 0.42, with emphasis on his line, SAJAKEEEEEEEE (terrific classical emphasis feel twist) from 0.35 to 0.37

The piano flick pattern (twice) is mesmerizing from 1.11 to 1.13 followed by quick rising band baaja piece from 1.14 to 1.16

The foot tapping rhythmic beats kick in from 1.16 onwards.

The fast paced tabla beats from 1.37 to 1.41 & 2.05 to 2.08 give intermittent kick.

The start stop gap at 1.39 & 2.06 is of great cause.

The intermittent female chorus in between 1.55 & 2.02 enhances the feel factor.

Alka's lines in lower pitch range, O SAJNAAAAAA with feel factor from 2.03 to 2.06 strike a chord.

Between mukhda & 1st stanza, a catchy likeable piano piece plays from 2.21 to 2.29 followed by band baaja tune piece from 2.30 to 2.40 followed by Indian string based (mandolin) piece from 2.41 to 2.50

1st stanza

The female chorus from 3.05 to 3.15 enhances the feel factor.

Between 1st & 2nd stanza, the emotional feel female chorus from 3.52 to 4.11 depict the proceedings of 'doli ka samay aa gaya hai', followed by Jayesh's repetitive high pitched croons SAJNA VE from 4.12 to 4.27 along with foot tapping rhythmic beats, followed by band baaja tune piece from 4.28 to 4.37

2nd stanza

The tune sur behind Udit's lines from 4.52 to 5.00 is of great cause.

The female chorus from 5.30 to 5.33 behind Udit's lines enhances the feel factor.

Udit's line, JAAANA-AAA-AAA-AAAA (awesome 3 step descending vocals) from 5.39 to 5.41

The song ends with extended band baaja piece.

Highlights of this song:

1. Udit's feel vocals and Alka's melodious vocals.

2. Undelying rhythmic foot tapping beats, fast paced tabla beats that give intermittent kick, band baaja tune piece, likeable piano pieces/flicks.

3. Female chorus with feel factor, especially between 1st & 2nd gap with emotional feel.

4. Jayesh Gandhi's catchy high pitched Punjabi croons.

JHOOT NAHI BOLNA from AKS - The MOVIEE was inspired by this song in terms of song structure, pattern and instruments.

Meri Nas Nas

First things first, the listener should take note of the following.

The household string instrument (with twist) used and the 3 lazy additional beats is same as used in the song KABHI NA SUKUN AAYA – KOI AAP SA.

Compare the 3 lazy beats from 1.21 to 1.22 (kabhi na sukun aaya) and from 1.29 to 1.30 (this song) and also the household string instrument from 0.42 to 0.50 (kabhi na sukun aaya) and from 0.34 to 0.40 (this song).

Udit begins this song with his sooth feel vocals in unplugged mode.

An emotional feel raga tune from 0.24 to 0.34 is followed by household string instrument (with an inherent twist) from 0.35 to 0.45 that Himesh used countless time in pre-ABA songs.

Jayesh sings with high pitched passionate feel croons, HAAAAAI, TU MERI YAADENI MERA SUKUN (catchy fulltu high pitched passionate feel croons) from 0.55 to 1.03

The profound dholak beats with a quick repetitive skip pattern effect that kick in from 0.41 onwards were similarly used from 1.23 onwards in KABHI NA SUKOON AAYA from KOI AAP SA and from 1.39 onwards in TERE NAAM TITLE TRAX.

The female chorus from 1.09 to 1.18 depict the feel factor.

The 3 additional lazy beats from 1.29 to 1.30 give a perfect head start to the mukhda.

The fast paced tabla beats followed by 1 beat hit at 1.52 & 2.28 is great.

Alka arrives with her melodious vocals.

Her lines, HAR KHWAHISH MEIN from 2.12 to 2.14 is sung with great classical touch.

Striking melody Alka's lines, MEREEEEEEE(prolonged)EEEEE(3 step descending twist) from 2.23 to 2.28 & 4.41 to 4.46

Between mukhda & 1st stanza, the household string theme piece plays from 2.42 to 2.52

1st stanza

The fast paced tabla beats from 2.55 to 2.56 were used at the same point in KYUN KI ITNA PYAR from KYON KI from 3.10 to 3.11

The tune sur from 3.02 to 3.04, 3.13 to 3.16 & 3.25 to 3.27 gives great effect.

The female chorus do their thing between 1st and 2nd stanza.

Between 1st & 2nd stanza, the female chorus from 3.51 to 4.02 depict the feel factor.

2nd stanza

The fast paced tabla beats from 4.04 to 4.05 were used at the same point in KYUN KI ITNA PYAR – KYON KI from 4.32 to 4.33

The tune sur from 4.12 to 4.13, 4.22 to 4.24 & 4.34 to 4.36 gives great effect.

Emphasis on Alka's lines...MERIIII, SAANSEEEIN, WAFAAAAA, HAAAAR at 4.25 (classical feel), MEREEE at 4.30 (classical feel).

The raga tune sur from 4.52 onwards is effective for feel factor.

From 5.03 onwards, Jayesh gives great support in different (higher) pitch/sur to udit's vocals creating a great overall effect.

The song ends with raga tune and female croons to convey the feel and emotions.

Highlights of this song:

1. Alka's melodious vocals and Udit's sooth feel vocals.

2. The emotional feel raga tune that marks the beginning and end of this song, and which is also used intermittently throughout.

3. The female chorus to convey feel factor and Jayesh gandhi's passionate feel croons, especially his catchy fulltu high pitched croons at the start.

4. The household string instrument (also in Kyun Ki) theme piece, Kyun Ki styled fast-paced tabla beats in beginning of each stanza and Kabhi Na Sukuun Aaya styled lazy 3 heavy additional beats in beginning of mukhda portion.

Go Balle Balle

The song starts with sounds depicting a grand entry of a superstar.

The semi-plugged beat hits it from 0.14 onwards and it resembles the semi-plugged beat from 0.09 onwards in AADAT HO CHUKI from KOI AAP SA.

The Punjabi flavored beat and wicked male vocals join this semi-plugged beat.

Himesh uses his catchy repetitive hooks for the mukhda tag line GO BALLE BALLE that creates an enjoyable vibrant mood.

Jayesh's croons from 0.48 to 1.04 are great build up of the song.

The fast drum roll beats from 1.05 to 1.06 are great and remind of the drum roll beats used from 1.32 to 1.33 in TANDOORI NIGHTS from KARZZZZ and at 1.24 in BHANGRA PAALE from ANTHONY KAUN HAI.

The underlying beats from 1.11 onwards are similar to those in ANKH VICH CHEHRA PYAR DA from APNE.

KK sings with feel goods vocals on a simple composition pattern, with emphasis on YAAR (twist) from 1.36 to 1.37, IKRAAR (twist) from 1.38 to 1.39

Alisha also sings with feel good vocals with emphasis on PYAR at 1.57

Between mukhda and 1st stanza, Punjabi flavored tune is followed by a well structured groovy tune pattern. The BALLE BALLE croons in semi-plugged mode are a build up. The sound effect used from 2.26 to 2.27 was similarly used from 2.29 to 2.30 in DIL SE JUDA EHSAAS from TAARZAN – THE WONDER CAR

Between 1st and 2nd stanza, Jayesh's bindaas croons are back followed by BALLE BALLE croons in semi-plugged mode are a build up.

1st stanza & 2nd stanza

KK & Alisha sing with feel good vocals on a simple structured tune with repetitive hooks and Jayesh enhances the feel good factor by his Punjabi croons.

The song ends with extended mukhda tag lines BALLE BALLE.

Highlights of this song:

1. KK's, Alisha's and Jayesh's feel good vocals.

2. The underlying peppy beats, drum roll beat, Punjabi tunes and groovy tune.

3. The build up of song at start and the ending sound effect plus male vocals that gives an international feel.

Verdict

1. Yeh Dil Toh Mila Hai (HISTORY work and one of BEST EVER songs by Himesh-Sonu jodi combo).

Underlying beat is free-flowing. The cutting-edge deadly synthetic techno instrument that closes in from 1.02 to 1.04 & 1.38 to 1.40 builds SIKE and gives OFF-DA-HOOK COMPLETENESS EFFECT to preceeding lines (terrific instrument selection). Alka'a lines, KYUN JAANE KYUN (HISTORY groovy tune sur at 2.27), KYUN LAGI LAGAN (HISTORY groovy tune sur at 2.29), ISHQ KA HAI YEH (HISTORY tune sur at 2.38), KAUN SA MAQAM (HISTORY tune sur at 2.40). Alka's lines, BECHAIN KARNE LAGA HAI YE-EEEEEE (sudden voice rise with HISTORY melody pinch) from 2.47 to 2.49, DEEWANA-PANNNNNNNN (HISTORY prolonged striking melody) from 2.50 to 2.51 Sonu's line, TUJHE (normal note) – EEE (higher note) from 3.57 to 3.58 and at 4.08 is HISTORY melody created using just 2 notes. Sonu's lines, ZOR NA CHALE (HISTORY bazz trumpet tune sur at 4.03), JAZBAAT PAR (HISTORY bazz trumpet tune sur at 4.06), DE DIYA TUJHA (HISTORY bazz trumpet tune sur at 4.08), JAANO JIGAR (wins over the listener, HISTORY lyrics n vocals) from 4.09 to 4.11, HEEAAAEEEEE (HISTORY composition pattern) at 4.14

The HISTORY intermittent tune from 2.26 to 2.31 & 2.37 to 2.41 accompanying Alka's vocals in 1st stanza and the HISTORY intermittent tune from 3.52 to 4.09 accompanying Sonu's vocals in 2nd stanza bowls over n konnekts with the listener. Alka's line, YEE-EEEE (HISTORY striking high pitch melody) from 2.47 to 2.48, DEEWANA-PANNNNNN (HISTORY melodious pinch) from 2.50 to 2.52 in 1st stanza, Sonu's line, HAA-AAI (HISTORY rising twist) from 4.13 to 4.14 in 2nd stanza. Sonu's line, JAAN-O-JIGAR (feel vocals) from 4.09 to 4.11 just win over the listener.

2. Bindiya Chamakne Lagi & Meri Nas Nas Me (tie)

Bindiya Chamakne Lagi

Its a traditional Indian song in the celebration / shaadi genre. Underlying beats are rhythmic foot tapping. Likeable catchy piano piece from 2.21 to 2.30 in between 1st stanza gap. Female chorus with emotional feel from 3.52 to 4.12 in between 2nd stanza gap.

Meri Nas Nas Me

3. Go Balle Balle

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