Tere Sang

The starting synthetic piano pattern is great, followed by subtle feel female croons.

From 0.38 to 0.52, things take a cult shape courtesy due to the male rapper's off-da-hook AAHAH COME-ON (gives kick and gets listener into da groove) and subtle seductive female croons along with underlying bazz techno sound.

After this awesome great build up, Himesh hits it with free flowing rhythmic beats from 0.53 onwards followed by gradually rising female croons/roars OOOOO that give kick.

KK's croons WOOOUOO WOOOUOO (deliberate feel good arrogant) from 1.02 to 1.15 are aided well by loud seductive female whispers.

The female shouts from 1.18 to 1.20 & 1.25 to 1.27 are impactful.

Lyrics are great and chilled out, with emphasis on EK SIMPLE SI KOFFEE.

Shweta Shetty's & KK's catchy repetitive hooks, O SANAM * 3 from 1.49 to 1.54 & O SANAM-MMM (awesome quick catchy twists) from 2.10 to 2.15 are the core melody of the mukhda.

The wicked heavy male breath effect from 1.55 to 1.56 & 3.15 to 3.16 was similarly used from 3.13 to 3.14 & 4.46 to 4.47 in NIKAMMA KIYA from KYA DIL NE KAHAA.

Between mukhda & 1st stanza, a feel good trumpet plays followed by KK's repetitive feel good HEO HEO & WOOOW croons.

1st stanza

Jayesh's line EEEEEEEEEE (prolonged alaap croons on a different pitch/scale/sur) from 2.49 to 2.54 & 4.53 to 4.59 behind KK's arrogant feel good vocals are of good cause.

Shweta's lines from 3.03 to 3.11 have a naughty feel.

Between 1st & 2nd stanza, KK's repetitive feel good HEO HEO & WOOOW croons.

2nd stanza

Jayesh's line EEEEEEEEEE (prolonged alaap croons on a different pitch/scale/sur) from 4.11 to 4.15 & 3.32 to 3.37 behind KK's arrogant feel good vocals are of good cause.

The female vocals TA TA along with Shweta's vocals from 4.25 to 4.34 are naughty seductive OFF-DA-HOOK, and enhance the overall naughty appeal.

The song ends with a whoosh effect.

Highlights of this song:

1. The start build up until the main underlying rhythmic beats hit it.

2. KK's adjusted singing style with deliberate arrogant feel.

3. Female part of stanzas.

4. Female shouts OOOOOOO, seductive naughty female vocals TA TA, cult male rap and Jayesh's prolonged alaap in different pitch/sur/scale.

5. The synthetic piano theme piece.

Dilli Ki Sardi

The grand thunderous starting sound similar to start of SOORAT PE from FOOTPATH, followed by cheers confirms that Himesh spins out another stage or "in-da-house" club song.

The seductive female croons and feel good croons YEAH YEAH plus the bottle top opening effect gives an INTERNATIONAL FEEL, something that clearly evident in his such genre songs.

The ARABIAN tune pattern from 0.13 to 0.21 is the theme piece and it plays intermittently throughout the song.

The tune pattern from 0.22 to 0.39 builds up the song.

KK sings with SHARP KNIFE EDGE vocals (a quality that HR the sufi rwak singer is gifted with).

His prolonged twists from 0.49 to 0.51, 0.53 to 0.55, 1.04 to 1.07 & 1.10 to 1.13

The female vocals are seductive in line DIL KI SARDI from 1.01 to 1.03.

Shweta's vocals along with seductive female croons from 1.33 to 1.34 & 2.18 to 2.20 are very raw, suggestive with a bindass care free attitude.

KK's lines DHORA DHORA JAAYE RE YEH DIL DHAD KA JAAYE RE from 1.52 to 1.56 are quite catchy.

Once again Himesh asks KK to adjust his singing style as noted in lines PYAR TERA.

Shweta's vocals from 2.09 to 2.18 are seductive.

Between mukhda & 1st stanza, the feel tune plays along with female chorus in sync.

1st stanza

The quick additional beats at 2.53 gives great kick start to stanza.

Jayesh's line DHUA HI DHUA, BADAN MERI JAAN has good middle octave impact and enhances the feel good nature of KK's lines.

Shweta's vocals along with an underlying grand instrument from 3.00 to 3.12 are sung with seductive care free bindass attitude.

Between 1st & 2nd stanza, jayesh's feel good croons are followed by Arabian instrument tune from 3.38 to 3.46 and this is terrific selection.

2nd stanza

The quick additional beats at 3.53 gives great kick start to stanza.

Jayesh's line HAWA JAB HAWA, NASHA HI NASHA has good middle octave impact and enhances the feel good nature of KK's lines.

Shweta's vocals along with an underlying grand instrument from 4.00 to 4.12 are sung with seductive care free bindass attitude.

The song finishes in the grand manner in which it started.

Highlights of this song:

1. The international feel and the build up of the song at the start.

2. The Arabian theme piece (terrific selection), the quick additional beats in beginning of stanzas, the grand instrument tune along with Shweta's voice in stanzas.

3. KK's adjusted singing style with fulltu attitude and Shewta's full blast bindass vocals.

4. Jayesh's middle octave impact in stanzas, seductive female vocals accompanying Shweta and female chorus.

Song's like this only confirmed that fact at that time that Himesh Reshammiya was not just limited to typical love duet ballads and the producers had an incentive to sign him on as he could throw in an item/stage/club number into the mix of things.

Mere Naal

The first few seconds remind the start of BADI DILCHASPI HAI from 36 CHINA TOWN in terms of beat effect.

The song starts with a cutting-edge techno instrument with a whooping sound and soothing female backgroud chorus.

From 0.16 to 0.23 & 0.33 to 0.42, the feel good theme piece is catchy followed by TERRIFIC female vocals.

Jayesh goes about his usual croons.

The tune from 0.52 to 0.53 & 1.44 to 1.45 give awesome sahi effect when heard in context of associated lines.

The female lines MERE NAAL follow HR's fixed formula of catchy repetitive hooks.

From 1.13 to 1.17, KARRR (low note) BAREEE KARBAREE (great feel).

Shaans vocals are subtle feel good.

From 1.34 to 1.37, the whoooshing sound along with drum beats and female chorus croon behind mere naal gives great effect.

At 1.41, quick flick of keys (majestic).

Shaan's line KARBAREE (deliberate tongue twist) from 1.50 to 1.51

From 1.52 to 1.53, the heavy drum hits are off-da-hook.

Between mukhda & 1st stanza, the female chorus is effective and their whispers MITWA and HAAH give a seductive feel. Jayesh goes about his usual business.

1st stanza

Female chorus whispers AAHA give a nauthty feel.

From 2.49 to 2.53, BERIYA VE * 3 follow HR's repetitive hook formula.

From 2.54 to 2.59, the additional male vocals shift to higher sur/pitch to create great overall effect.

Between 1st & 2nd stanza, the soothing female chorus is great, especially from 4.07 to 4.08

2nd stanza

Shaan's vocals are soothing.

From 4.24 to 4.28, the additional male vocals shift to higher sur/pitch to create great overall effect.

Shaan's lines MERI SONI * 2 is soothing.

Highlights of this song:

1. Soothing female chorus.

2. Sur tune between lines 'ishq da vaada (sur tune 2 keys) pyar the vaada'.

3. The line KARBAREE in the manner shaan sings it with a slight twist.

4. The underlying rhythmic beats & heavy drum beat hits.

5. The starting build up until 0.35 is groovy off-da-hook.

This is a feel good song.

Sarzameen Se

Shaan opens the song with subtle vocals in unplugged mode followed by a likeable piano piece.

The tune plus trumpet pattern from 0.18 to 0.31 builds up the feeling of jazba.

The tune from 0.31 to 0.38 is great build up.

A more prolonged and similar grand instrument effect used in OM NAMO NARAYAN (DASHAVATAR) from 2.20 to 2.23 as compared to the instrument used in this song at 0.39

Jayesh's croons are catchy especially with emphasis on ZAMEEN-YAAA from 0.50 to 0.51 with passion

The female chorus followed by flute from 0.51 to 0.59

Shaan's lines, HAAAAI HUME SAR ZAMEEN SE (subtle twist) from 1.35 to 1.40

The female chorus lines ISHQ SAR ZAMEEN SE from 1.50 to 1.54 & 2.13 to 2.16 have soothing melody.

The quick drum effect at 2.26 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 2.33 in HUMKO CHAHIYE from ISHQ HAI TUMSE.

In between mukhda & 1st stanza, the emotional raga tune pattern with twists (along with soothing chorus) from 2.26 to 2.35 is TERRIFIC! The female chorus descending pattern from 2.35 to 2.42 is mesmerizing, and the sitar piece followed by the quick additional patriotic beats from 2.43 to 2.58 creates awesome overall melody.

1st stanza

Good use of raga tune for feel factor.

Shaan's feel good lines, MY NATION IS MY PRIDE is very representative of Himesh's typical melody.

Between 1st & 2nd stanza, the lines...raaba mere RAKHIYO (feel twist) LAAJ is similar to tune of lines...tenu dil vich rakhlu JAANE (feel twist) MAN in JUST WALK INTO MY LIFE from MAIN AISA HI HOON...emphasis only on capital letters.

2nd stanza

Good use of raga tune for feel factor.

Shaan's feel good lines MY NATION IS MY PRIDE is very representative of HR's typical melody.

3rd stanza

The lines 5.52 to 6.48 have subtle emotional feel, especially from 6.08 to 6.24 with additional high pitch croons. The flute is used well.

The female croons MAA HAI YEH.

Shaan ends this patriotic song with typical HR melody MY NATION IS MY PRIDE (feel good twist emphasis) and the similar tune that comes to my mind is from 0.51 to 0.55 CHURA LO (TAARZAN – THE WONDER CAR). Compare it with this song from 8.36 to 8.38

Highlights of this song:

1. The trumpet, flute piece, sitar, terrific raga tune and the fast patriotic beats.

2. Jayesh's high-pitched croons and soothing female chorus.

3. Shaan's vocals with feel and passion.

May be this is our rockstars version of Rehman's Vande Mataram!

Bas Ik Bar

Alka begins this song with her melodious feel vocals, with emphasis on lines SANGH (profound twist) at 0.20, NAAM (profound twist) at 0.22 that is similar to profound twist in line AAYA in between 5.49 & 5.55 in KABHI NA SUKUUN AAYA from KOI AAP SA. This twist is one of his typical unique HR melody.

The deliberate tongue-twist feel good vocals from 0.31 to 0.38 are a catchy innovation by HR-the composer as he used to ask his singers in pre-ABA days to do such stuff.

From 0.37 to 0.48, a whoosh sound is followed by feel good guitar riffs.

Babul supriyo sounds Kumar Sanu-ish although he maintains his own identity.

His mukhda lines are sung with pleasant subtle feel vocals along with effective feel good Jayesh's vocals, with emphasis from 1.21 to 1.24

Alka's lines are melodious, with emphasis on SANGH (awesome melodious profound twist) at 1.57, NAAM (awesome melodious profound twist) at 1.59

Babul's and Alka's prolonged lines from 0.58 to 1.01, 1.12 to 1.15 & 1.53 to 1.53 give some kick.

Between mukhda & 1st stanza, feel good guitar riffs play follow by Jayesh's catchy deliberate feel good vocals followed by rather funny female croons (that remind of the funny female vocals from 3.21 to 3.34 in TERE AANE SE from RUN) and melodious Alka's vocals.

1st stanza

The composition pattern is effective.

Babul sings with subtle feel vocals, with emphasis on BAR – AR (great twist) from 2.29 to 2.30

From 2.57 onwards, Alka's lines have refreshing melodious feel pinch along with faint subtle female chorus, with emphasis on BIN-NNNN (melodious pinch twist) from 3.00 to 3.01, SUNA (refreshing melody), AE (desperation plea) from 3.23 to 3.24

Jayesh's deliberate feel good vocals from 3.38 to 3.41 are quite effective.

Between 1st & 2nd stanza, the grand trumpet plays followed by rajasthani folk vocals followed by Alka's melodious croons.

2nd stanza

From 4.19 to 4.27, Alka's melodious vocals are vastly enhanced by TERRIFIC jingle effect (especially after word MEHNDI) and piano piece for overall melodious effect. Such HISTORY instrument effect was used after word CHUDI, PAYALIYA BOLE in OODHNI from TERE NAAM.

From 4.28 to 4.41, Babul is at his pleasant soothing feel best with emphasis on lines CHUPALE - LEE (great twist) at 4.31, THAM (halke se feel) from 4.39 to 4.40

Jayesh's deliberate feel good vocals from 5.09 to 5.14 are quite effective.

The song ends with soothing female chorus and whoosh effect.

Highlights of this song:

1. Babul's pleasant subtle vocals and Alka's melodious refreshing feel pinch vocals.

2. Jayesh's deliberate feel good vocals and soothing female chorus in stanzas and towards the end.

3. The instrument effects in 2nd stanza along with Alka's vocals from 4.19 to 4.27

My Picks

1. Tere Sang Ik Simple Si Koffee & Dilli Ki Sardi (tie).

2. Mere Naal & Sarzameen Se (tie).

3. Bas Ik Bar

The deliberate feel good cute naughty cheeky male adlip croon EYYARA YAO in this song is none other than that of Himesh. So this should make it his first ever playback voice in his songs.

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