Yeh Dil

The song begins with a subtle tune and groovy flute in unplugged mode followed by likeable piano keys.

Udit's line, DEKHO - OOOO (terrific feel twist) from 0.18 to 0.19 is the kind of twists that Himesh currently uses in his sufi-rock compositions and singing style.

The rhythmic from 0.25 onwards that builds up the song is joined by a profound tabla beat pattern from 0.30 to 0.34 followed by raga twist from 0.34 to 0.35 that was similarly used from in AASHIQUI TERI from 36 CHINA TOWN, and a string-based raga instrument tune from 0.36 to 0.40 that one can associate with baba Ramdev's shrine / aashram.

An emotional feel raga tune plays from 0.41 to 1.01 along with intermittent tabla beat effect and the classical sitar riff at 0.54 & 1.02 that catches the classical pulse of listener.

A pleasant well structured traditional flute / bansuri piece plays from 1.02 to 1.12

Alka arrives with her melodious vocals, with emphasis on line YEH (awesome halke se desperation feel twist) from 1.26 to 1.27

The profound tabla beats kick in from 1.34 to 1.53 & 2.14 to 2.33

The female chorus behind Udits's vocals in between 1.36 & 1.45 give awesome melodious feel.

The descending whistle effect in sync with tabla hits followed by quick tabla hit pattern in unplugged mode from 1.53 to 1.55 & 2.33 to 2.35 gives great intermittent effect.

The emotional raga tune from 1.56 to 1.58 & 2.36 to 2.38 gives completeness effect to Udit's and Alka's preceeding lines.

The profound traditional laidback drum skips kick in from 1.56 to 2.14 & 2.36 to 2.54

Alka's lines, CHANDNEE MEIN (awesome feel twist) AASMAN PE (awesome feel twist) ZAMEEN PE (awesome feel twist) along with elec piano in between 2.17 to 2.24 that gives jingle effect.

Between mukhda & 1st stanza, the emotional raga tune piece is back along with tabla beat pattern.

1st stanza

Alka's lines are melodious, with emphasis from 3.15 to 3.21 (catchy high-pitched).

The tune sur from 3.25 to 3.27 gives off-da-hook emotional feel.

Udit's line, TERI (awesome subtle desperation feel twist) at 3.27

The laidback drum skips from 3.29 to 4.03 are of great cause behind Udit's subtle feel vocals.

The synthetic piano keys from 3.35 to 3.37 are likeable.

The key flicks from 3.46 to 3.53 are of great cause.

The raga tune from 3.56 to 3.58 gives off-da-hook emotional feel.

Between 1st & 2nd stanza, a well structured tune piece plays in lower pitch from 4.04 to 4.14 followed by higher pitch from 4.15 to 4.24 followed by a mesmerizing pleasant bansuri piece with traditional conservative innocent feel from 4.24 to 4.35 which is a musical delight.

2nd stanza

Alka sings with melodious feel vocals along with laidback drum skips, with emphasis on line MEIN (higher pitched sur gives haunt feel) from 4.47 to 4.48

The tune sur in between 5.14 & 5.18 gives great intermittent effect to Udit's lines.

The quick key flicks from 5.32 onwards depict a sense of urgency are joined by female feel croons from 5.42 to 5.51 along with intermittent bansuri.

The quick key flicks become even more aggressive from 5.51 onwards and end the song on a profound loud note.

Highlights of this song:

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

2. The underlying beats that alternate between profound tabla beats and profound traditional laidback drum skips.

3. Emotional feel raga tune, pleasant bansuri piece, elec piano, synthetic piano, quick key flicks and descending whistle effect.

4. Melodious sooth feel female chorus.

The song begins on a subtle note followed by brief keyboard tune.

Emphasis on Udit's line...dekho-OOOO (twist) from 0.18 to 0.19.

From 0.25, the bazz sound along with great tabla beat pattern (0.30 to 0.33).

A similar version of modern raga tune used at 0.34, 2.53 was used in starting of Aashiqui mein teri from 36 China town.

The tune from 0.36 onwards is like those played at baba's aashram.

From 0.41, the great raga instrument plays and sahi desired effect with perfect timing is given by sitar at 0.54! Great!

The lovely flute piece plays from 1.02 to 1.12.

Emphasis on Alka's lines...YEH at 1.26 that is song with a meaningful purpose.

The soothing female chorus behind Udit's vocals are pleasant.

The raga tune sur at 1.56, 2.01, 2.07, 2.36, 2.41 & 2.47 gives the song a classical touch.

Between the mukhda & 1st stanza, the raga tune and tabla beats create a subtle feel.

1st stanza

Alka's lines GAL GALI TERE SHEHAR MEIN GHUME GHUME SHAM-O-SHEHAR is great composition by HR.

The tune sur from 3.25 to 3.26 is just TERRIFIC MINDBLOWING, followed by word TERI (twist with feel).

The Indian string based tune sur from 3.35 to 3.37 enhances the flow of the song.

The raga tune from 3.56 to 3.58 is TERRIFIC.

Between 1st & 2nd stanza, the pleasant flute is simply mesmerizing especially at 4.31 and 4.33.

2nd stanza

Alka's line...takdeer MEIN at 4.48 actually changes pitch/sur to one higher level to give a great overall effect.

Her other lines in the stanza are feel good melody.

The tune sur between 5.14 and 5.17 is great.

The soothing feel good chorus (with emotion factor) finishes off the song.

Highlights of this song:

1. Udit's soothing vocals and alka's feel good melodious vocals.

2. The 36 china town wicked type raga tune, tabla beat pattern, other raga tunes used intermittently and also as tune sur.

3. The soothing female chorus, Indian string instrument and pleasant flute between 1st and 2nd stanza (just listen to it,fantastic!).

The key in this love duet is the classical element and it just shows Himesh's strength in classical/semi-classical genre to give such pleasantly soothing numbers.

The good thing with Himesh is that he never forgot his raga instruments throughout his career!

Meri Chandi Tu

A wicked sound opens this number followed by female vocals FEEL IT that get the listener into the groove.

The underlying beat resembles that of SARKE CHUNARIYA RE from RUN.

The feel good male vocals crooning TAY YA etc enhance the feel good nature of this song.

Note the heavy fast drumroll beats from 0.37 to 0.38.

The manner in which the female rapper says FEEL IT * 2 from 0.46 to 0.49 (especially the gap) is off-da-hook.

The flute tune sur behind lines nahi HONA nahi KHONA, male TAY YA and female TUUU enhance the feel good factor of this sing.

The tune pattern from 2.20 to 2.24 is great.

1st stanza

The additional female chorus crooning the lines AAGE * 3...CHAAGAYE * 3 gives great effect.

Between the 1st and 2nd stanza, the tune 'sound' and pattern is mind blowing from 2.58 to 3.08 followed by feel good female chorus SAAJAN SAAJAN VE I AM WAITING 4 U KABSE (the hindi english mixture is fab). This whole part is the BEST in the song.

2nd stanza

The additional female chorus crooning the lines BIN TERE * 3...DIN MERE * 3 gives great effect.

A speciality of Sameer's lyrics is that they are simple and they most importantly rhyme to suit the catchy repetitive hooks of HR.

The feel good female chorus finish off the song along with a groovy sound.

Highlights of this song:

1. Alka's melodious and udit's feel good vocals.

2. The wicked techno-type sound in beginning and groovy sound in the end.

3. The feel good female chorus, the female and male croons, the flute piece and heavy fast drumroll beats.

4. The underlying SARKE CHUNARIYA styled beat that gives this song its feel good identity.

Chaahat Ki Khushboo

When Himesh composed this song, he had the songs of Humraaz in the back of his mind.

Alka kick-starts this songs with her melodious LA LA (emphasis on the faint up twist at 1.10).

A similar whooshing sound (at 0.22) was also used in the beginning of the song JAANAM TERE LIYE from KURUKSHETRA.

The intermittent bazz trumpet tune followed by Indian string instrument and flute are great.

The female chorus after Shaan's line Chaat Ki are nice.

Emphasis on alka's line from 1.26 to 1.29...sunliyAAAAAAA (prolonged voice deepening followed by up twist). This similar pattern structure was used in songs of RADIO like SHAAM HO CHUKI and KOI NA KOI CHAAHIYE (please check the music reviews of these 2 songs to associate with prolonged voice deepening followed by up twist wherever it is mentioned).

The new age instrument between 1.44 and 1.54 is awesome.

1st stanza

Note the heavy instrument from 2.09 to 2.10, 2.39

At 2.13, nahiYEEE (classical twist)-EEEE (higher note) followed by haunting descending tune pattern give the HUMRAAZ effect.

The faint soothing chorus from 2.38 to 2.42 is great.

Alka's high note KAR LIYA is good melody.

Between 1st and 2nd stanza, the penetrating shenayi along with soothing female chorus make for an interesting combination.

The flute piece changes sur/pitch to one higher level followed by female chorus thus creating a great effect.

2nd stanza

Alka'a lines...chalke nahiyEEEEE(classical twist) YAAD (striking melody) followed by haunting descending tune pattern give the HUMRAAZ effect.

Alka's line at 3.42...AABAD (striking melody).

The faint soothing chorus from 3.57 to 4.01 is great.

The soothing female chorus finishes off the song.

Highlights of this song:

1. The underlying beat, bazz trumpet, flute piece, JAANAM TERE LIYE type whoosh sound, the new-age instrument.

2. Alka's melodious and Shaan's feel good vocals.

3. The intense HUMRAAZ type stanzas with haunt feel, penetrating shehnayi soothing female chorus.

Album: Zindagi

Singer: Kavita Krishnamurthy

Lutf De Gayi

KK soothens his vocals for the opening lines, dil mera le gayi RRREEEEEEE(utter soothing), mera dil (female chorus UUU up UUU up UUU up), KK, Ooh up Ooh up Ooh up, kasam se kasam se, female vocal, ho ho ho ho, mil ke woh humse, female vocal yeeeah-haaaaiiii, lutf de gayi re, female vocal yeeeaaaaeaaaaaay, lutf de gayi, female vocal, oh ho yaaaaaaaa (down down twist).

From 0.38 to 0.39, the overall HISTORY effect when the female vocals and harmonica tune merge together.

The penetrative harmonica tune from 0.40 onwards gets really heavy on the listener and hooks them. The female vocal also accompanies this tune.

From 0.50 onwards, a bazz tune kicks in to build the momentum of the song and at 0.58, the beats kick in along with utter soothing KK vocals.

KK's lines, HO OO OO (catchy sooth feel) from 0.58 to 1.02 & 1.07 to 1.12 followed by harmonica tune from 1.03 to 1.07 & 1.12 to 1.16

KK's lines, HEA AA OO (terrific sooth feel) from 1.17 to 1.12 & 1.26 to 1.31, with emphasis on line HOOO (catchy up feel twist) from 1.21 to 1.22 & 1.30 to 1.31

The quick dhol beats from 1.42 to 1.43 give kick start to KK's mukhda lines.

Soothing female chorus kicks in from 1.44 to 1.47 followed by loud female whisper DIL at 1.49 which strikes a chord.

Quick haunt keys flick from 1.55 to 1.56 that were a trademark pre ABA stamp.

KK's line, RE-EEEEEEEEEE (OFF-DA-HOOK prolonged sooth feel) from 2.19 to 2.23

Between mukhda & 1st stanza, the harmonica theme piece plays from 2.26 to 2.35 followed by soothing female background chorus from 2.36 to 2.45

1st stanza

KK's lines, HEEE AAA OOO (catchy vocals) from 2.55 to 3.00

Off-da-hook fulltu female background chorus make their melodious presence felt and come to da party from 3.11 to 3.14

KK's lines, BAARISHEN (soothing feel) from 3.10 to 3.11, KHWASHISHEN (soothing leel) from 3.13 to 3.14

From 3.09 to 3.14 is the BEST part of the stanza.

Quick repetitive tabla hits from 3.19 to 3.23 followed by whoosh sound effect from 3.23 to 3.26 and quick dhol hits from 3.25 to 3.26

Feel good guitar riffs from 3.29 to 3.30 were a trademark pre ABA instrumental.

Between 1st & 2nd stanza, the combo of harmonica theme piece and soothing female chorus returns from 3.41 to 3.50 followed by feel good guitar riffs from 3.50 to 3.59

2nd stanza

Things couldn't have gotten any better in terms of the choice of female vocals for such a song and Himesh got it dead right in creating the overall effect.

Hema Serdasai sings with ALTO vocals in lower octave range, and it is this 'stark contrast' to KK's higher pitch range which enhances the overall melody impact. 

Hema's line, AAE AAA OOO (alto vocals strike a chord) from 4.19 to 4.24

Hema's line, WOH TAAZA DHADKENEE WOH KARVATEE ULJHANEE (terrific alto vocals strike a chord) from 4.33 to 4.38

Off-da-hook fulltu female background chorus make their melodious presence felt and come to da party from 4.35 to 4.38

From 4.33 to 4.38 is the BEST part of the stanza.

Quick repetitive tabla hits from 4.43 to 4.47 followed by whoosh sound effect and quick dhol hits from 4.49 to 4.50

Hema's lines, reeeEEEEEEEEE (alto vocals strike a chord) from 4.50 to 4.53

Hema's line, LEE GAYA (halke se feel) from 4.59 to 5.00,

Typical pre ABA quick haunt feel keys flick from 5.03 to 5.04

Hema's lines, DEEE (off-da-hook desperation plea vocals) at 5.11

KK takes over from 5.14 onwards and ends the song with his sooth feel vocals.

Highlights of this song:

1. This is one of finest works of KK for a very special reason, because KK is renowned for SHARP KNIFE-EDGE VOCALS (just like our Himesh) & these soothing feel vocals are very unlike him and a new facet of his vocal versatility (no wonder he is one of the best out there) and kudos to Himesh - the composer for extracting such best work from KK.

2. The LOW ALTO vocals of Hema Sardesai that suits the scale of song very well, because a high pitched female voice would have gone out of scale of song.

3. Female soothing background chorus that was a household name in the pre ABA era.

4. The harmonica theme piece that hooks on to the listener, typica pre ABA quick haunt keys flick, quick repetitive tabla hits, whoosh sound effect and quick dhol hits.

When it comes to 'typical unique HR melody', this song is one of the ultimate, for it shows what Himesh - the pre ABA composer is all about i.e. brand reshammiya. 'Typical' in the sense has signature trademark stamp of Himesh - the pre ABA composer, 'unique' in the sense that no other composer can dream of composing such melody notes or adding such instrumental / vocal elements.

Humko Chahiye

This is a vintage Himesh track from his early days. He asks shaan to deliberately adjust his singing style.

Shaan croons with subtle feel vocals in unplugged mode.

The wicked male vocals along with beats from 0.31 to 0.56 build up the song.

The male croons from 0.56 to 1.12 are catchy and get the listener into the groove.

The wicked tune 'pattern' from 1.16 to 1.19, 1.22 to 1.25 was similarly used in IMLI IMLI from BLACKMAIL in between 0.11 & 0.25 in terms of the groovy effect. The tempo and pitch/sur is obviously different.

From 1.25 onwards, Shaan sings with adjusted vocals to sound feel good arrogant and with fulltu attitude.

His lines are catchy and the female chorus HAI YEEE and alienish male vocals enhance the overall effect.

In those early days, there used to be mix of hindi and English lines and this trend has since continued.

His lines KOI NA MILA * 2, AAP JAISA * 3 follow the fixed formula of catchy repetitive hooks.

The effect from 1.57 to 2.00 & 2.49 to 2.52 gives sahi desired effect.

The quick drum effect at 2.33 & 3.12 was similarly used at 1.11 in MOHABBAT HAI MIRCHI, at 2.01 in CHURA LIYA HAI TUMNE TITLE TRAX, at 2.33 in HUMKO CHAHIYE from ISHQ HAI TUMSE, at 1.05 in SANAM MERE HUMRAAZ, and at 2.26 SARZAMEEN SE from ZAMEEN.

Sagarika also does a good job with penetrating vocals.

Between mukhda & 1st stanza, the feel good male croons are back.

1st stanza

The composition pattern is very catchy.

The drum beat effect from 3.18 to 3.19 gives great kick start.

Shaan's line from JAANE JANA-AAAAAAA from 3.24 to 3.26 is TYPICAL UNIQUE HR MELODY.

The continuous tune sur variation from 3.26 to 3.32 is off-da-hook and gives terrific kick in overall context.

Between 1st & 2nd stanza, harmonica tune piece plays followed by soothing female chorus (especially the melodious twist at 4.42 & 4.46) and feel good guitar piece.

The composition pattern is very catchy.

The drum beat effect from 4.56 to 4.57 gives great kick start.

Sagarika's line, JAANE JANA-AAAAAAA from 5.02 to 5.04 is TYPICAL UNIQUE HR MELODY.

The continuous tune sur variation from 5.04 to 5.09 is off-da-hook and gives terrific kick in overall context.

Highlights of this song:

1. Shaan's adjusted singing style and Sagarika's penetrating vocals.

2. The effect from 1.53 to 1.57 & 2.44 to 2.49, quick drum effect from 2.33 & 3.12, and drum beat effect from 3.18 to 3.19

3. The female vocals, feel good male and alienish male vocals.

4. The key in this song are the mukhda lines from 1.48 to 1.56, 2.39 to 2.46 and stanza lines from 3.24 to 3.32, 5.02 to 5.09

My Picks

1. Lutf De Gayi

This song is full of 'typical unique HR melody'. The catchy repetitive tune piece from 0.39 to 0.48 gets melodiously heavy on da listener. Shaan's croons HOOOO (catchy sooth feel croons) from 1.07 to 1.12, HAI - AA - OO - HAI AA - OO (OFF-DA-HOOK sooth feel croons) from 1.17 to 1.31, REEEEEEE (OFF-DA-HOOK prolonged sooth feel) from 2.20 to 2.23.  Shaan's BEST lines in 1st stanza are WOH PYAAR KI BAARISHEN WOH YAAR KI KHWAHISHEN (catchy sooth feel vocals) from 3.09 to 3.14. OFF-DA-HOOK guitar riff at 3.30 in overall context. Hema's ALTO vocals are a perfect contrast to KK's lines and they elevate the song to higher level. Her BEST lines in 2nd stanza are WOH TAAZA DHADKANEE WOH KARVATEE ULJHANEE from 4.33 to 4.38, DE (OFF-DA-HOOK desperation plea) GAYA RE at 5.11. The soothing female chorus makes their presence felt throughout da song from 1.44 to 1.50, 2.36 to 2.44, 3.11 to 3.19, 3.27 to 3.31, 3.41 to 3.50, 4.00 to 4.09 & 4.35 to 4.43 & 4.51 to 4.55.

Best part in stanza lines, KK's line, WOH PYAAR KI BAARISHEN, WOH YAAR KI KHWAHISHEN (terrific catchy sooth feel vocals) from 3:00 to 3:05 in 1st stanza and Hema Sardesai's line, WOH TAAZA DHADKANE, WOH KARWATEIN ULJHANE from 4:21 to 4:26 in 2nd stanza, whereby the background female chorus behind these lines blows away the listener, and awesome lyrics by Sameerji in these lines e.g. Woh Taza Dhadkane, Woh Karwatein Uljhane...those raw tender (taaza) heart beats (dhadkane), causing restless anxious sideways postures (karwatein uljhane)...whilst thinking about lover and trying to sleep.

2. Humko Chahiye

The mukhda is quite catchy. Shaan's BEST lines in 1st stanza are HAI JAANE JAANA (OFF-DA-HOOK catchy) from 3.27 to 3.30 & 3.36 to 3.38 along with terrific continuous fluctuating tune sur from 3.32 to 3.36. Sagarika's BEST lines in 2nd stanza are HAI JAANE JAANA (OFF-DA-HOOK catchy) from 5.08 to 5.10 & 5.16 to 5.18 along with terrific continuous fluctuating tune sur from 5.13 to 5.16

3. Yeh Dil

Udit's line, DEKHOOO (terrific emphasis twist) from 0.18 to 0.19. Alka's lines from 3.05 to 3.24 are melodiously catchy. The tune piece from 3.25 to 3.27 wins over da listener. The terrific bazz raga tune from 3.56 to 3.58 gives completeness effect to Udit's preceeding vocals. The pleasant bansuri piece from 4.24 to 4.35 brings thehrav to proceedings.

4. O Soneya

BEST part in song is the traditional folk tune from 2.59 to 3.08 joined in by catchy croons SAJAN SAJAN VE IM WAITING FOR U KABSE from 3.09 to 3.28

5. Chaahat Ki Khushboo.