Prem Leela

The song begins with a quick catchy peppy theme piece in unplugged mode, joined in by semi plugged beat from 0:10 onwards, a perfect Rwakin starting build up pattern which was also used in Jumme Ki Raat from Kick.

The mast bindaas rhythmic tapori beat kicks in from 0:16 onwards.

Aman's mukhda lines from 0:23 to 0:44 along with intermittent peppy theme piece builds up the song.

He goes middle octave from 0:45 to 0:55, and the intermittent chants HAI HAI from 0:48 to 0:51 keep up the energy levels.

The masti filled jovial chorus along with quick drum hits from 0:56 to 0:58 is great build up for the mukhda hook.

The mukhda hook line, PREM LEELA-AAAAAA (prolonged, sudden quick up twist) at 1:02, PREM LEELA-AAAAA (gradual prolonged downwards curvy twist) from 1:04 to 1:05

By the time the quick catchy peppy theme piece is back from 1:06 onwards along with intermittent whistle piece in sync, the listener is in an estatic mood.

1st stanza

The stop-start gap followed by the simultaneous start of vocals and beat at 1:20 gives kick.

Aman sings in middle octave and his lines from 1:20 to 1:30 are best lines in stanza, whereby the intermittent teasing male chants EEE EEE EE get listener into the zone.

The chorus lines from 1:34 to 1:37 have a Dharmic touch and feel.

The lines, RAAVAN TU YAHAAN SE KAR RAVAANI, GUSSE MEIN KAHE KOH HOTA LAAL PEELA are hilarious.

In between 1st & 2nd stanza, the heavy duty dosage of quick spinning drums and shank, followed by the Band Baaja Baaraat trumpet piece signifies as if a huge herd of circus elephants are lining and queuing up to enter a large Bhandaal.

2nd stanza

Aman sings in middle octave and his lines from 2:34 to 2:41 are best lines in stanza,whereby  the intermittent nagging female chorus MMM MMM catch listener's pulse.

Aman's line, JAISE RADHA SHAAM SE (awesome singing) from 2:34 to 2:36

The chorus lines from 2:48 to 2:51 have a Dharmic touch and feel.

The line , SUN CHHOTU AUR PAPPU, RAJU GOPAL GAPPU...TUM KO BHI MILE SAPNO KI RANI from 2:52 to 2:59 will go down well with the common man and front benchers.

By the time the peppy theme piece is back from 1:06 onwards along with intermittent whistle piece in sync, the listener is in an estatic mood. 

Highlights of this song:

1. Aman Trikha's high pitched vocals in stanzas and middle octave in stanzas.

2. Mast bindaas tapori styled rhythmic beats, quick catchy peppy theme piece.

3. Intermittent male and female chants and intermittent whistle piece.

Prem Ratan Dhan Payo

The song begins with Palak Mucchal's intro lines in unplugged mode, along with underlying continuous 'Standing On Air' sound.

The quick majestic jimgle chime flicks from 0:53 to 0:57 along with thunder effect, followed by shehnayi piece and heavy drum hits and female chorus until 1:15 is a perfect prelude into a grand Rajshri type setting.

The underlying free flowing beat kicks in from 1:17 onwards.

The female chorus on lines, PAYO, AAYO, LAYO, GAYO, CHAAYO has a deja-vu feel, but is effective in the Rajshri set up context.

Himesh shows his classical prowress with the quick intense classical lines, PAAYO PAAYO RE PAAYO RE from 1:54 to 2:02 along with quick heavy drum hits in sync.

The tune of mukhda is decent.

In between mukdha & 1st stanza, a synth trumpet piece plays from followed by shehnayi piece from

1st stanza

The quick raw drum hits give good kick start to Palak's staza lines.

The tune is decent and Palak goes about her merry ways.

Her best lines are from 2:57 to 3:03 which are representative of Himesh's pre ABA school of music.

In between 1st & 2nd stanza, the feel good guitar piece from 3:38 to 3:47 is representative of Himesh's pre ABA school of music, followed by grand trumpet piece from 3:48 to 3:56 and feel good sitar piece from 3:57 to 4:06

2nd stanza

The tune is decent and Palak goes about her merry ways.

Her best lines are from 4:27 to 4:32 which are representative of Himesh's pre ABA school of music.

Highlights of this song:

1. Palak Mucchal's feel good vocals.

2. Underlying free flowing beat.

3. Continuous standing air sound at start, quick majestic jimgle chime flicks, sitar piece, quick raw drum hit effect and feel good guitar piece.

4. Female chorus on lines, PAYO, AAYO, LAYO, GAYO, CHAAYO and quick intense classical lines, PAAYO PAAYO RE PAAYO RE.

Jalte Diye

The song begins with beautiful raag strings in unplugged mode.

Harshdeep Kaur's subtle feel vocals set the warm undertone of the song as if king ke darbaar mein mehfil saji hui hai, and remind of the intro of Piya Jaise Ladoo from Radio, in terms of subtle feel and tone, and her lines, MILAN KI-IIII (profound twist) at 0:11 to 0:13, HOTI-III (profound twist) from 5:28 to 5:30 were similar to stanza line HAR FAASLA (profound twist) from 3;25 to 3:27 in TUM CHAIN HO from MILENGE MILENGE.

Off-da-hook intense heavy drum hit pattern along with off-da-hook intermittent male classical Buddhist chants get to the listener and convey the urgency and test of ever lasting love in terms of endurance and withstanding the test of time, like Agnee Pariksha.

Anwesha sings the mukda lines with sincere melodious vocals.

Anwesha's line, HAIN (halke se feel) at 0:55 & 1:02

Anwesha's quick emphasis alaap, HOOOOOO from 1:08 to 1:10 catches the classical pulse of listener.

The male Buddhist chants from 1:14 to 1:15 catch the listener's classical pulse.

Anwesha's line, TERE HI TERE LIYE, JALTE DIYE-EEEE from 1:11 to 1:19 is her best mukhda line and gives completeness effect to preceding mukhda lines.

Anwesha's line, MEIN-EEEEN (awesome prolonged echo effect) from 1:27 to 1:30 as if to depict the distant goonj from Mahal terrace.

1st stanza

Vineet sings with lots of sincerty and honesty, bhaut shidaat se gaaya hai.

Off-da-hook male Buddhist chants from 2:11 to 2:12 get to the listener.

The intermittent female chorus enhances the desperation feel quotient.

He shows his classical singing prowress, especially in the line, BHI-IIII (terrific heartfelt classical emphasis twist) from 2:44 to 2:45

His best lines in stanza are HAI VIRAANO MEIN BADALTE (terrific composition), DEKHE MANN KE BHAAG BHI from 2:39 to 2:45

In between 1st & 2nd stanza, an intense violin piece in unplugged mode from 3:19 to 3:31 is followed by sweet bansuri piece from 3:32 to 3:44 and female desperation feel chorus from 3:45 to 3:58

2nd stanza

Vineet sings with lots of sincerty and honesty, bhaut shidaat se gaaya hai.

Off-da-hook male Buddhist chants from 4:00 to 4:01 get to the listener.

The intermittent female chorus enhance the desperation feel quotient.

He shows his classical singing prowress, especially in the line, JEEYE-EEEE (terrific heartfelt classical emphasis twist) from 4:33 to 4:34

His best lines in stanza are YUN BEGANI ROSHNI MEIN (terrific composition), KAB TALAQ KOI JEEYE from 4:27 to 4:34

Anwesha's line, UTHE (very crisp and profound pronounciation of the letter T) at 4:38 & 4:45, KANGNON (very crisp pronounciation) from 4:42 to 4:32

Proceedings get even more testing and intense, whereby Shabab pours his heart out in off-da-hook catchy prolonged desperation plea alaap, especially from 5:13 to 5:17 & 5:25 to 5:29 and ends with a rugged Sufiana touch in his unplugged line, BITAANI.

Highlights of this song:

1. Vineet's heartfelt singing with classical touch, Anwesha's melodious feel vocals with sincerety, Harshdeep's warm husky vocals at start and Shabab's off-da-hook prolonged heartfelt alaap towards the end.

2. Underlying beat comprised of off-da-hook intense drum hit pattern along with off-da-hook intermittent male classical Buddhist chants.

3. Beautiful raag strings at start, intense violin piece followed by sweet bansuri piece in between 2nd stanza.

4. Female desperation feel chorus.

Aaj Unse Milna Hai

The song begins with traditional female chorus along with semi plugged drum effect, which captures the Rajshri essence.

The underlying free flowing rhythmic beat along with well structured theme piece kicks in from 0:14 onwards.

Shaan is the ideal choice. He sings flawlessly in his usual style and this 90s song suits him.

Shaan's line, Thori Ghunjiya Vunjiya is lol and makes the listener break into a big smile.

The underlying rhythmic beat has a nice skip pattern from 0:50 to 1:01

The beat and vocal effect from 1:02 to 1:08 catches the listener's pulse.

In between mukhda & 1st stanza, the grand trumpet orchestra piece accompanied by female chorus from 1:08 to 1:25 is followed by sweet bansuri piece from 1:25 to 1:37

1st stanza

The tune is simple and well structured, whereby Shaan flawlessly goes about his usual business.

The female chorus that kicks in from 1:54 to 2:03 enhances the overall vocal effect.

The repetitive hits in unplugged mode from 2:04 to 2:06 gives good intermittent effect.

The skip effect in the underlying rhythmic beat from 2:19 to 2:30 is nice.

In between 1st & 2nd stanza, the female chorus is back from 2:37 to 2:47 followed by sweet bansuri piece 2:48 to 2:54

2nd stanza

The tune is simple and well structured, whereby Shaan flawlessly goes about his usual business.

The female chorus that kicks in from 3:11 to 3:20 enhances the overall vocal effect.

The repetitive hits in unplugged mode from 3:20 to 3:24 gives good intermittent effect.

The skip effect in the underlying rhythmic beat from 3:36 to 3:47 is nice.

Highlights of this song:

1. Shaan's feel good vocals.

2. Underlying free flowing ryhthmic beat.

3. Sweet bansuri piece and grand trumpet orchestra piece in between 1st stanza gap.

4. The beat and vocal effect from 1:02 to 1:08 that catches the listener's pulse.

5. Female chorus, especially in the stanzas.

Jab Tum Chaho

The song begins with pots and pans banging sound joined in by guitar riffs, as if a crazy person is swaying their head sideways in a Caribbean beach party.

Palak Muchal sings with feel good vocals.

The harmonium piece does dimag kharaab of the listener, especially the quick twist at 0:15, 0:23

The rhythmic traditional dhol beat kicks in from 0:27 onwards.

The gives start stop gap followed by quick tabla hits from 0:46 to 0:49 gives good intermittent effect.

Mohd Irfan and Darshal Raval sing their chorus lines in tandem, with feel good vocals.

Their best mukhda line is, THODI SI MASTIYAAN KI from 0:56 to 0:58

In between mukhda & 1st stanza, a synth tune piece from 1:28 to 1:44 along with intermittent traditional heavy raw drum hits is followed by harmonium theme piece. The beat effect from 1:53 to 1:57 is as if the listener is wobbling around in dazed state.

1st stanza

Palak sings her lines from 1:57 to 2:15 in feel good mode.

The male portions from 2:16 to 2:31 are sung with feel good vocals.

In between 1st & 2nd stanza, the drum riff loop effect from 3:01 to 3:05 is funny, followed by the hilarious poplu parrot sound from 3:05 onwards which will make the listener crack into laughter. When this portion comes in public, it would be interesting thing to look at people's facial expression and reaction. A synth piece plays from followed by harmonium theme piece.

2nd stanza

Tune wise, it is better than 1st stanza.

Best melody in song is in the lines, HO SAMAY AGAR TOH SIKHA DEJIYE ABHI followed by tune piece from 3:52 to  4:00, DOOR KAISI HOTI HAI KISI KI NARAAZGI from 4:05 to 4:08

Highlights of this song:

1. Palak Mucchal's feel good vocals and Darshal Raval / Mohd Irfan's feel good vocals.

2. Traditional peppy drum beat, rhythmic traditional dhol beat.

3. Harmonium theme piece and synth tune piece.

4. The drum riff loop effect followed by the hilarious poplu parrot sound in between 2nd stanza gap.

Halo Re

The song begins with heavy underlying traditional drum sound followed by heavy dandiya and drum hits until 0:18 along with mysterious spooky sound.

The peppy synth theme piece kicks in from 0:18 to 0:32, followed by a groovy tune and chime hit at 0:34

The underlying beat is traditional rhythmic.

The compositional structure of the mukhda line, HALO RE HALO RE HALO RE is gradually rising.

Aman Trikha sings with energetic high pitched vocals.

In between mukhda & 1st stanza, the peppy tune piece plays from 1:15 to 1:30

1st stanza

The chorus from 1:42 to 1:46 is likeable.

In between 1st & 2nd stanza, a peppy tune piece from is joined in by female chorus.

2nd stanza

The chorus from 2:34 to 2:38 is likeable.

The groovy tune from 3:16 to 3:18 followed by jingle hit at 3:!8 is likeable.

Highlights of this song:

1. Aman's energetic high pitched singing.

2. Traditional rhythmic underlying beat, peppy tune pieces,

3. Female chorus in stanzas.

Tod Tadaiyya

The song begins with naughty naazuk kamsin kali yell OOUCH that drives listener crazy.

The synth theme piece that is similar to the theme piece from 0:39 to 0:48 of DIL KE MAARE HAIN from VAAH! LIFE HO TOH AISI but with a faster tempo, joins in from 0:03 onwards followed by underlying Dhol beat pattern.

The quick beat pattern at 0:10, 0:15, 0:27 and so on in the underlying rhythmic beat dimag kharaab karta hai.

Neeraj Shreedhar and Neeti Mohan are good choices for this mischievious track.

Neeraj sings with feel good vocals.

The lyrics, CHANCHAL SI CHIDIYE drives iistener crazy as it signifies delicate chicky.

The naughty female sighs HMMM, HAAH along with heavy drum hits followed by gradually rising male chants HAAAEEEE is great build up into the mukhda hook.

Neeti Mohan sings in high pitch and her line, HAIYA RE-EEEE from 0:50 to 0:52 are inspired from Gangster Baby.

The delicate female yell OUCH at 1:03 is out of concern.

In between mukhda & 1st stanza, Himesh goes old school with Dhum Pachik Dhum, and the listener goes crazy upon arrival of female sighs AAH at 1.14, 1:18  and quick beat effect at 1:17, 1:21, followed by synth guitar piece from 1:21 to 1:29, the female yells HAAN along with quick beat effect from 1:29 to 1:37 drive the listener crazy.

1st stanza

The stanza is actually a let down and could have been much better for overall song appeal.

The repetitive hook from 1:37 to 2:01 is pedestrian whereby Neeraj's computerized tone on line DAALE RE, DAALE RE is not very appealing and lyrics like NAINA NASHEELE JAADU DAALE RE, INPE LAGADO ZARA TAALE RE are non comprehendo and absurd. How can one put pad locks on eyes, now that is a real Ouch.

The lyrics of Neeti's lines from 2:01 to 2:10 are taunting.

The gradually rising mischievious female chorus HEEEEE from 2:13 to 2:!5 does dimag kharab of listener.

In between 1st & 2nd stanza, the wicked raga tune along with dandiya sticks effect from 2:24 to 2:31 in semi plugged mode drives the listeners completely bonkers, as they imagine the grooving and swaying of bodies in a very twisted, conspicious, mysterious and suspicious way. Himesh goes the classical Fuzion route from 2:39 to 3:03 as he mixes the combo of classical chants and sitar riffs along with conteporary beats. A synth piece along with heavy drum hits plays from 3:04 onwards.

2nd stanza

The stanza is actually a let down and could have been much better for overall song appeal.

The repetitive hook from 3:14 to 3:37 is pedestrian and lyrics like HOTON KI LAALI FEEKI HUI RE, PANI CHUBE JAISE SUI RE are absurd and non comprehendo in terms of connection to each other, and the way Neeraj sings SUI RE, SUI RE makes the listener laugh.

The lyrics of Neeti's lines HUM NE BHI AB THODI, SHARM HAYA CHORI, ULTA GHUMADENGE BAIYA RE from 2:01 to 2:10 are intimidating and drive listeners crazy as the heroine decided enough is enough and she will take matters into her own hands by becoming aggressive.

The gradually rising mischievious female chorus HEEEEE from 3:49 to 3:51 does dimag kharab of listener.

The female yell Ouch at the end drives the listener crazy, especially due to the fact that the previous female line said that i have left my reservations and no longer play victim by twisting your arm.

Highlights of this song:

1. Neeraj Shreedhar's feel good singing and Neeti Mohan's care free singing.

2. The underlying dhol beat, with intermittent quick beat effect that drives crazy.

3. The synth theme piece, naughty female sighs HMMM, HAAH along with heavy drum hits followed by gradually rising male chants HAAAEEEE, the female sighs along with quick beat effect in 1st stanza and wicked raga tune along with dandiya sticks effect in 2nd stanza.

Bachpan Kahan

The song begins with feel good nostalgic guitar riffs joined in by innocent Bansuri piece from 0:12 to 0:21 and trumpet theme piece from 0:22 to 0:40

Himesh keeps the orchestration gentle laidback in terms of underlying beat that joins in from 0:50 onwards.

Himesh sings the mukhda lines from 0:40 to in restrained mode with innocent subdued vocals in non nazal tone.

Himesh goes fulltu in SEEDHA SARAL THA (sudden steep high pitch voice rise) from 0:59 to 1:02 which is a stark contrast from otherwise gentle proceedings.

Himesh's line, BACHPAN (dodgy restrained pronounciation) at 0:48, 0:57 and so on and DARPAN (smiling vocals) at 0:46 and so on has backfired badly and perhaps he could have considered singing this part with a different approach, because these lines are not suiting the towering persona of Salman Khan, but a crippled person with low IQ like Rohit / Hrithik Roshan in Koi Mil Gaya or some lallu Bholunath. Apart from these lines, he has sung the remaining song okay with the required feel.

In between mukhda & 1st stanza, the piano piece along with grand orchestra style beats from 1:19 to 1:28 is followed by trumpet piece from 1:28 to 1:47

1st stanza

The lyrics will make the listener break into a smile due to their innocence and the way they are structured into phrases.

Himesh sings his lines that reflect childhood memories with sincerety. 

In between 1st & 2nd stanza, a likeable feel good saxophone piece 2:34 to 2:53 is followed by trumpet piece from 2:54 to 3:03

2nd stanza

The lyrics will make the listener break into a smile due to their innocence and the way they are structured into phrases.

Himesh sings his lines that reflect childhood memories with sincerety. 

The tune piece from 3:52 to 3:55 followed by Himesh's ending mukhda hook line DARPAN BATA, BACHPAN KAHAAN in slower tempo along with continuous underlying tune from 3:56 to 4:02 appeals and is his best sung line in the song.

Highlights of this song:

1. Himesh's innocent feel non nazal singing with masoomiyat and sincerety.

2. Gentle laidback beats, trumpet piece, likeable feel good saxophone piece in between 2nd stanza gap.

Murli Ki Taanon Si

The song begins with heavy grand drum hits and daffli hits.

The grand piano joins in from 0:11 onwards.

Shaan sings with feel.

The piano keys from 0:48 to 0:51 are likeable,

The chorus on well structured mukhda hook from 0:53 onwards along with heavy laidback drum skips convey the emotional feel.

This is the sad version of Aaj Unse Milna Hai, and it has been given a grand orchestration to fit into the narrative and create impact when the lovers are at crossroads during testing times.

Aaj Unse Kehna Hai

It is like a version 2 of Aaj Unse Milna Hai.

The faint male haunt feel chorus from 0:44 to 0:52 is likeable.

The female lines from 0:56 to 1:19 are likeable.

The grand orchestra along with intense female chorus from are representative of testing times of love.

The rhythmic dhol beats kick in from 1:28 onwards along with mukhda hook which is sung by Shaan and female chorus, just like a reprise as if to signify that all is well in the end.

My Picks

1. Prem Leela & Jalte Jiye - TIE

Prem Leela

This song was specifically made keeping in mind the timing of release, which co-incided near the time of Navratri and to take advantage of this festive mood and season. The first impression of the song is that it sounds ordinary average deja-vu at first, but after few initial hears it grows upon the listener like wildfire and becomes quite catchy once the listener has entered into its zone. Although Himesh has used the template of mast tapori styled beats and signature peppy theme piece numerous times in the past, but still it works bigtime for this song and the replication aspect can be overlooked in this case. Best parts of song is the quick catchy peppy theme piece and Aman's middle octave stanza lines from 1:20 to 1:30 & 2:34 to 2:45, This song uplifts / elates the mood of listener and makes them upbeat and rejoice / sway with ecstasy. Aman Trikha did a wonderful job in Prem Leela, but another singer's voice and style this song would have suited is Daler Mehndi.

Aman Trikha has sung Prem Leela really well. His lines in 1st stanza, LANKA (start stop beat effect at 1:17 gives kick) PATI BAAVARE (bindaas middle octave vocals), EE-EE-EE-EE (jovial male chorus gets to listener and catches pulse), TAKA JHAKI KYUN KARE-EE (bindass up twist) at 1:22, EE-EE (jovial male chorus gets to listener and catches pulse), AAE (OFF-DA-HOOK short alaap) at 1:24, his lines in 2nd stanza, JAISE RADHA SHYAM SE, SITA MILI RAM SE (awesome middle octave subtle feel vocals). Composition in stanzas has traces of typical HR melody, shehnayi theme piece gets to listener, esply the quick twists at 0:08, 0:10, 0:15, 0:17...it is a song that sounds average Deja-Vu at start but grows upon listener, has long shelf life and repeat hear value.

Jalte Diye

This was a song tailormade for a grand canvas film like Devdas. It has a soul which is really beautiful. It is a raag based pure melody. The Raag itself on which this melody is based is very beautiful. Vineet Singh comes of age and his heartfelt singing strikes a chord. His best lines are, HAI VIRAANO MEIN BADALTE (terrific composition), DEKHE MANN KE BHAAG BHI  (heartfelt classical emphasis twist, shows his classical singing prowress) from 2:39 to 2:45 in 1st stanza, and YUN BEGANI ROSHNI MEIN (terrific composition), KAB TALAQ KOI JEEYE (heartfelt classical emphasis twist) from 4:27 to 4:34 in 2nd stanza, When Himesh has Vineet Singh and Shabab Sabri, then perhaps there is no need for Sonu Nigam and Rahat Fateh Ali Khan, as both did their respective parts with their own distinct touch, and yet also filling that void i.e. Vineet's tone who reminds of Sonu, but sings with his own touch, and Shabab's tone reminds of Rahat, but does his alaaps with own touch. Underlying beat comprising of off-da-hook intense drum hit pattern along with off-da-hook intermittent male classical Buddhist chants get to the listener, especially from 1:14 to 1:15 in mukhda, from 2:11 to 2:12 in 1st stanza, from 4:00 to 4:01 in 2nd stanza. Anwesha does a fine job with her sincere melodious vocals. The song reminds of the video game setting of Prince of Persia.

2. Prem Ratan Dhan Payo

The title track had a scope for an Oodhni type of song, with traditional orchestration catchy instruments and melodious tune. In comparison, it is a decent melody with a Deja-Vu feel, in the category league of Chura Ke Leja from Policegiri and is slightly better, but lacks that magical midas touch or infectious melody that was imminent in pre ABA melodies. The impact of this song would have been much more, if it was a typical duet song e.g. sung along with Shaan, or whereby the male vocals join in from second stanza onwards e.g. Shaan even sings the mukhda hook line PREM RATAN DHAN PAYO towards the end from 1:37 to 1:41 in Aaj Unse Milna Hai, so he could have also easily sung in the original version, to make it a duet and increase its impact manifolds. Nevertheless, the song fits into the Rajshri mould and given that it had to be developed around the hook line Prem Ratao Dhan Payo, it is a fair song. Himesh had a chance to create a truly Historic traditional melody like Oodhni, especially when considering its similar music video setting, but the result is a decent melody which is fair considering that it had to be developed around the title hook Prem Ratan Dhan Payo. Its music video is colorful and has traditional outdoor theme setting along with large family gathering and additional dancers, reminding of good old times, happiness and family values.

3. Jab Tum Chaho, Tod Tadaiyaa, Aaj Unse Milna Hai, Bachpan Kahaan - TIE

Jab Tum Chaho

The song has a strong Pop flavor, especially in the female portions and compositionwise, it is quite experimental in nature. Best melody in song is in the lines, HO SAMAY AGAR TOH SIKHA DEJIYE ABHI followed by tune piece from 3:52 to  4:00, DOOR KAISI HOTI HAI KISI KI NARAAZGI from 4:05 to 4:08, the drum riff loop effect from 3:01 to 3:05 is funny, followed by the hilarious poplu parrot sound from 3:05 onwards in 2nd stanza gap will make the listener crack into laughter. Its music video was initially anticipated to be shot in a large indoor mehfil type family gathering setting, but in actuality more than half of it is shot outdoors in beautiful colorful and traditional heritage locations. It has an interesting concept and hence the music video is better than initially expected. Sonam's hopping dance steps from 1:22 to 1:25 are funny.

Tod Tadaiyaa

It is a peppy mischievious eve teasing song. Best part of song is the synth theme piece and the build up part of naughty female sighs HMMM, HAAH along with heavy drum hits followed by gradually rising male chants HAAAEEEE followed by the mukhda hook HO JAAYE TOD TADAIYAA RE. The lyrics, CHANCHAL SE CHIDIYE drives crazy, and the naughty naazuk kamsin kali yell OOUCH, and the female sighs along with quick beat effect in 1st stanza and wicked raga tune along with dandiya sticks effect in 2nd stanza drive the listener crazy and bonkers. This song brings out the hidden naughtiness out of a rather serious Himesh on the outside. The lyrics are mixed bag. Overall, this song will make dimag kharaab of listener.

Bachpan Kahaan

One would expect Himesh to sing a killer memorable classic in such a big album that is well short of veteran singers, but he chooses to sing a subdued situational track. It has a oldern styled pattern of Laxmikant Pyarelal, and also Himesh's composiiton Koi Aap Sa from Koi Aap Sa, which was also inspired by yesteryear style of music. Himesh's line, BACHPAN (dodgy restrained pronounciation) at 0:48, 0:57 and so on and DARPAN (smiling vocals) at 0:46 and so on has backfired badly and perhaps he could have considered singing this part with a different approach. Apart from these lines, he has sung the remaining song okay with the required feel. The stanza lyrics will make the listener break into a smile due to their innocence and the way they are structured into phrases. Best parts in song are feel good nostalgic guitar riffs joined in by innocent Bansuri piece from 0:12 to 0:21 and trumpet theme piece from 0:22 to 0:40 at start, the piano piece along with grand orchestra style beats from 1:19 to 1:28 in between 1st stanza gap, a likeable feel good saxophone piece 2:34 to 2:53 in between 2nd stanza gap, and the tune piece from 3:52 to 3:55 followed by Himesh's ending mukhda hook line DARPAN BATA, BACHPAN KAHAAN in slower tempo along with continuous underlying tune from 3:56 to 4:02 towards the end. It's difficult to understand Himesh's decision to sing this song, quite baffling indeed. This song was actually tailor made for a singer like Kumar Sanu and its impact could have been many folds in his voice. An instrumental version of this song could have found its way into Restaurant lounge playlists.

Aaj Unse Milna Hai

This Happy-Go-Lucky Docile song is a result of direct influence by Rajshri and Sooraj Bharjatiya. It will bring a smile onto the listener's face, especially in the portions where the pleasanteries are mentioned. Shaan is the ideal choice. He sings flawlessly in his usual style and this 90s song suits him. The underlying beat is rhythmic free flowing. The mukhda hook Chalo Unke Liye Leke Chale, Aur Unko Duae Dete Chale is simple and well structured. This situational song has a strong Deja-Vu feel. Music video is really good in terms of the whole mahool, Shaan's voice is not matching Salman's lip sync but who cares. Salman is looking handsome in his innocent good boy image avatar look and his dance with supporting male dancers is nice. His best step is the bindaas bhidu step from 0:53 to 0:58

Aaj Unse Milna Hai Hame...Thodi Gunjiya Vunjiya Lete Chale

4. Halo Re

This is a song that could easily slip into a Sanjay Leela Bhansali periodic film like Ram Leela. It is inspired from Gujarati folk roots. It is a situational track with a Deja-Vu feel. Some portions remind of video game called Prince of Persia, especially due to the intro part comprising of heavy drum hits followed by mysterious spooky sound until 0:18 and ending part comprising of groovy tune from 3:16 to 3:18 followed by sharp jingle hit at 3:!8...as if the Prince is going through various floors of mahal / fort and trying to get to the ultimate top to his princess, overcoming all the mysterious haunting hurdles, obstacles and elements along the journey to conquer

Aaj Unse Kehna Hai and Murli Ki Taanon Se are not ranked as they are small parodies and extensions / variations of originals.

Verdict

Composition

> Jalte Diye - Harshdeep's intro lines, Vineet's stanza lines, HAI VIRAANO MEIN BADALTE (terrific composition), DEKHE MANN KE BHAAG BHI from 2:39 to 2:45 in 1st stanza, YUN BEGANI ROSHNI MEIN (terrific composition), KAB TALAQ KOI JEEYE from 4:27 to 4:34 in2nd stanza, Anwesha's mukhda lines, TERE HI TERE LIYE, JALTE DIYE-EEEE from 1:11 to 1:19 & MEIN-EEEEN (awesome prolonged echo effect) from 1:27 to 1:30, Shadab's lines, SAAYE MEIN TERE from 5:13 to 5:17 & 5:25 to 5:29

> Jab Tum Chaho - the lines, HO SAMAY AGAR TOH SIKHA DEJIYE ABHI followed by tune piece from 3:52 to 4:00, DOOR KAISI HOTI HAI KISI KI NARAAZGI from 4:05 to 4:08

> Prem Leela - the stanza lines, LANKA PATI BAAWRE, TAAKA JHAKI KYUN KARE from 1:20 to 1:30 in 1st stanza, and JAISE RADHA SHAAM SE, SITA MILI RAM SE from 2:34 to 2:44 in 2nd stanza.

> Aaj Unse Milna Hai - the simple well structured mukhda hook, Thodi...Lete Chale, especially its impact is manifolds in chorus from 0:52 to 1:07 in the slow sad version Murli Ki Taanon Si.

> Bachpan Kahaan - Himesh's line, DARPAN BATAA BACHPAN KAHAAN from 3:56 to 4:02 in semi plugged mode along with continuous background tune.

Typical unique HR melody is in...Vineet's lines, HAI VIRANON MEIN BADALTE from 2:39 to 2:42, YUN BEGAANI ROSHNI MEIN from 4:27 to 4:30, Shadab's lines, SAAYE MEIN TERE from 5:13 to 5:17 & 5:25 to 5:29 in Jalte Diye, the male chorus lines, HO SAMAY AGAR TOH SIKHA DEJIYE ABHI followed by tune piece from 3:52 to 4:00, DOOR KAISI HOTI HAI KISI KI NARAAZGI from 4:05 to 4:08 in Jab Tum Chaho, Palak's lines from 2:57 to 3:03 & 4:27 to 4:32 in Prem Ratan Dhan Payo.

Orchestration

Himesh has used grand orchestration in certain songs like Prem Leela, Prem Ratan Dhan Payo and Murli Ki Taanon Si to justify the grand scale of the project.

> Jalte Diye - Off-da-hook heavy intense drum hit pattern along with off-da-hook intermittent male classical Buddhist chants that get to the listener and convey the urgency and test of ever lasting love.

> Prem Ratan Dhao Payo - The quick majestic jimgle chime flicks from 0:53 to 0:57 along with thunder effect, followed by shehnayi piece and heavy drum hits and female chorus until 1:15 is a perfect prelude into a grand Rajshri type setting.

> Prem Leela - the starting intro build up that gets listener into the zone, and the combo of mast tapori styled rhythmic foot tapping beats and the catchy peppy theme piece which makes the listener sway and become estactic.

> Jab Tum Chaho - the drum riff loop effect from 3:01 to 3:05 is funny, followed by the hilarious poplu parrot sound from 3:05 onwards in 2nd stanza gap which will make the listener crack into laughter.

> Tod Tadaiyya - the quick beat pattern at 0:10, 0:15, 0:27 and so on in the underlying rhythmic beat dimag kharaab karta hai, the wicked raga tune in semi plugged mode from 2:24 to 2:31 in between 2nd stanza gap drives the listeners completely bonkers.

> Bachpan Kahaan - feel good nostalgic guitar riffs followed by innocent Bansuri piece at start, piano piece along with grand orchestra style beats in between 1st stanza gap and feel good saxophone piece in between 2nd stanza gap.

> Halo Re - the groovy tune followed by jingle hit towards the end that reminds of the video game called Prince of Persia.

Vocal Interludes / Chorus

Himesh has used accompanying vocal interludes and female chorus to great effect, which captures the Rajshri essence.

> Jalte Diye - off-da-hook intermittent male classical Buddhist chants in the underlying beat that get to the listener, especially from 1:14 to 1:15 in mukhda, from 2:11 to 2:12 in 1st stanza, from 4:00 to 4:01 in 2nd stanza. Shabab's off-da-hook catchy prolonged heartfelt desperation plea alaap towards the end, especially from 5:13 to 5:17 & 5:25 to 5:29 

> Prem Leela - the intermittent teasing male chants EEE EEE EE in 1st stanza get listener into the zone, and intermittent nagging female chorus MMM MMM in 2nd stanza catch listener's pulse.

> Tod Tadaiyya - The naughty female sighs HMMM, HAAH along with heavy drum hits followed by gradually rising male chants HAAAEEEE, naughty naazuk kamsin kali yell OOUCH drives the listener crazy, the listener goes crazy upon arrival of female sighs AAH at 1.14, 1:18 and the female yells HAAN along with quick beat effect from 1:29 to 1:37 in between 1st stanza gap.

> Prem Ratan Dhan Payo - Female chorus on lines, PAYO, AAYO, LAYO, GAYO, CHAAYO and quick intense classical lines, PAAYO PAAYO RE PAAYO RE.

> Aaj Unse Milna Hai - The beat and vocal effect from 1:02 to 1:08 catches the listener's pulse, the female chorus that kicks in from 1:54 to 2:03 in 1st stanza and 3:11 to 3:20 in 2nd stanza enhances the overall vocal effect.

Singers

It is debatable whether Himesh should have selected and gone with more seasoned veteran singers for such a big prestigious album. Himesh, on the other hand has gone ahead with and backed his proteges instead and also given chance to upcoming reality show singers as promised and committed to them. Vineet SIngh, Anwesha and Shabab Shabri are the perfect choice for Jalte Diye.  Aman Trikha has done a good fair job with his rustic vocals which are suited for the festive flavored songs Prem Leela and Halo Re, whereby he enjoyed his stint behind the mike. Shaan is the apt choice for Aaj Unse Milna Hai and sings with his usual tone and style. Also, certain segment of fans would loathe that Himesh should have sung a killer memorable classic instead of a situational fare anf also sung more than just one song, considering that it is a big album for his mentor Salman Khan. Nobody could have sung Bachpan Kahaan and Aaj Unse Milne Hai better than Kumar Sanu and these songs would have sounded their best possible in his voice.

Lyrics

Irshad Kamil has done a fair job.

> Tod Tadaiyya - the lyrics, CHAHCHAL CHIDIYE drives iistener crazy as it signifies delicate chicky. The lyrics, HUM NE BHI AB THODI, SHARM HAYA CHORI, ULTA GHUMADENGE BAIYA RE from 2:01 to 2:10 in 2nd stanza are intimidating and drive listeners crazy as the heroine decided enough is enough and she will take matters into her own hands by becoming aggressive. Lyrics like, NAINA NASHEELE JAADU DAALE RE, INPE LAGADO ZARA TAALE RE in 1st stanza, HOTON KI LAALI FEEKI HUI RE, PANI CHUBE JAISE SUI RE in 2nd stanza are non comprehendo and absurd.

> Prem Leela - the lyrics, JAISE RADHA SHAAM SE, SITA MILI RAM SE, SAB KOH APNA PYAAR YUHI MIL JAAYE AARAAM SE, but in reality the love of Krishna Radha and Ram Sita was not easily attainable, as Radha was always concerned about the countless Gopiyan around Krishna, and also love of Ram Sita went through Agni Pariksha as Ram had to go to vanvaas, and later Sita was kidnapped and later on she had to give Agni Pariksha of her Pavitarta. The lyrics, RAAVAN TU YAHAAN SE KAR RAVAANI, GUSSE MEIN KAHE KOH HOTA LAAL PEELA in 1st stanza are hilarious. The lyrics, SUN CHHOTU AUR PAPPU, RAJU GOPAL GAPPU...TUM KO BHI MILE SAPNO KI RANI in 2nd stanza will go down well with the common man and front benchers.

> Bachpan Kahaan - the stanza lyrics will make the listener break into a smile due to their innocence and the way they are structured into phrases.

Verdict

Household Himesh vs Experimental mode vs Rajshri influence

In terms of Himesh's trademark style, only Prem Ratan Dhan Paayo in terms of tune, and orchestration of Prem Leela are from his household stable. Rest all songs are experimental and undistinctive of Himesh's style, or produced as a direct result of Rajshri influence. In fact, Himesh has experimented big time in this big stake album, as he has given his prodegies a big chunk of responsibility to shoulder, and also in terms of compositional style in songs like Jab Tum Chaho. Although Jalte Diye is a landmark song, but it is again an experimental risk because songs of this forte and genre are not known to become a rage in the past with listeners, with few limited exceptions. Take for example, Banaras which had a semi classical gem like Ishq Mein Dil Koh, and while it was critically acclaimed, it did not become that popular amongst the listeners. This is perhaps the limitation and risk of semi classical genre in mainstream films. For Himesh to have attemped this song after the lack of appreciation and desired popularity of his semi classical songs in Kuch Meetha Ho Jaaye, Banaras, Dangerous Ishq, Kajraare, Radio is commendable, as in a past interview he had expressed his disappointment for fate of such songs, and said that in future 'aise gaane gaye tel lagaane' and from commercial angle he will refrain from making such semi classical gems if they cannot reach to the mainstream listeners. Aaj Unse Milna Hai, Halo Re and Bachpaan Kahaan are produced as a direct influence of Rajshri.

Expectations in terms of comparison 

With regards to comparison with some of Himesh's best albums like Aap Ka Suroor, 36 China Town, Namastey London, Tere Naam to name a few, the album does not live upto the hyped up expectations. In terms of memorable music which some of his previous benchmark albums have had, this album as a whole cannot be labelled amongst the best works of Himesh, except for the masterpiece song Jalte Diye as a standalone. This album falls in the good, decent, above average category. An example of another album falling in such a category is Dangerous Ishq which had two terrific opening numbers, followed by decent back up songs. With context to Salman Khan films, albums like Tere Naam and Yeh Hai Jalwa can be called classics, while albums like PRDP, Kick, Bodyguard fall in the good, decent, above average category.

To justify an album as best work, some of its songs have to become an absolute rage or masterpieces that are fondly recalled even today. For example, songs of Aashiq Banaya Aapne and Aap Ka Suroor became a wildfire rage, and when people think of Namastey London then instantly Main Jahaan Rahu comes to mind in terms of class. Tere Naam album is remembered as an evergreen classic and brought the Mr Consistent pre ABA Himesh to the very top. Hookah Bar became an instant party anthem and till today sounds catchy like hell and sizzling fresh. But while songs of Bodyguard and Kick did terrific, they are not recalled that much by audience or heard that often on Radio. Yes, listeners rejoice themselves with Jumme Ki Raat and Aaya Re Aaya Bodyguard in random weekend night prime time party playlist on radio, and appreciate Teri Meri Prem Kahani and Tu Hi Tu Har Jagah as great songs when they get random airtime.

But if Tere Naam Title Trax, Oodhni, Naam Hai Tera, ABA Title Trax, Main Jahaan Rahu, Hookah Bar get air time, then the audience immediately sit up and notice, and instantly recall Himesh at his best and salute him for songs that are basically his cream. These are benchmark songs that have defined his mettle and made who Himesh really is as a composer. So, it depends on how much the song gets popular and what is its recall value over time period in order for it to be called best work. Another en route to be claimed as best work is if it was a critically acclaimed masterpiece e.g. some songs of Banaras, Ahista Ahista and Kajraare were masterpieces, and these albums were very much critically acclaimed but did not find and enjoy the diserable commercial success. Yet, Ahista Ahista and Kajraare rank amongst the best albums of Himesh and Ishq Mein Di Koh is one of the best ever semi classical songs by him.

Benchmark albums like Tere Naam, Aashiq Banaya Aapne, Aap Ka Suroor, Namastey London, 36 China Town, Ahista Ahista are amongst Himesh's best works. If best means 100%, then there cannot be something as >100%, not even 101%. So by calling PRDP as Himesh's best work is like insulting his actual best works like Tere Naam, Oodhni, Tera Suroor, Naam Hai Tera, Dil Tumhare Bina, Aashiq Banaya Aapne, Main Jahaan Rahu, Yahi Hota Hai Pyaar, Ahista Ahista Title Trax, Rabba Luck Barsa. While the songs of PRDP are good, none can match the above mentioned songs, and so PRDP is nowhere near Himesh's best works, but it is an album in the 'Good, Above Average' category. Calling this as his best work is severly underestimating the talent potential of Himesh and naively overlooking his past best works, or just simply lowering down the expectations from him and lowering his overall best benchmark level.

Melody vs Concept Theme based songs

Another way to look at it from a comparative perspective is that perhaps it is even rather unfair to compare this album with Himesh's previous benchmark albums. But the comparisons arise because of Salman Khan factor, tremendous perceived scope for traditional Indian music and that the album was touted as a musical extravanza packed with great melodies. In terms of melody quotient, one expected way more melody in the album since there was scope for some great traditional styled melodies. But the catch for this is that the mandate given to Himesh by the director Sooraj Bharjatia was to create 'concept based' situational theme songs with a certain typical flavor i.e. Bachpan Kahaan (revisiting innocent and uncomplicated childhood memories), Aaj Unse Milna Hai (a lover going to visit and meet his loved one, thinking of carrying some pleasantaries along the way), Tod Tadaiyaa and Jab Tum Chaho (where there are Tu Tu Mein Mein tiffs in between lovers, amongst a large family setting), Prem Leela and Halo Re (festive songs based on Radha and Kahna). Hence, due to honor these concept based songs within fixed parameters, the melody element went for a toss and the result was a handful of situational tracks with a deja-vu feel. In terms of melody quotient, making festive songs for Navratri, and based on Radhe Krishna, songs for large family type gathering and setting and songs with a complex hook title is more challenging as opposed to making generic soulful melodies or romantic ballads for lovers as they have general broader guidelines, boundaries and parameters which allows far more creative freedom in terms of arrangements, lyrics and the overall feel of the song template. In some of Himesh's earlier best works, he was given a broader mandate and had more leeway for creative freedom.

Conclusion

In terms of memorable music, Jalte Diye will be remembered for its pure class and Prem Leela will find its way into festive playlists. In terms of repeat hear mode, the most repeat hear value impact is of Jalte Diye and Prem Leela.

So the bottomline is that Himesh has delivered the type of album that was asked from Bharjaytias during the narration, and this album will fit into the overall mould in terms of the kind of storytelling, values and emotions that Rajshri are known to convey. But the melody quotient in the album was limited to an extent and fell short of the initial mammoth expectations due to quite a handful of concept based situational songs with a deja-vu feel in certain specific Rajshri scenerios and theme settings. PRDP is nowhere near the best works of Himesh, not even close but still nevertheless perfectly fits into the desired Rajshri mould, whereby the songs will have manifold impact onscreen. But from commercial perspective if Rajshri are happy with the album as it perfectly fits into their mould and that it was sold for a whopping price, then guess all is well.

PRDP Mukhda Hook - My Version

Please make sure that you lower your system volume after listening to PRDP - Mukhda Hook version 2, before playing any other track.

Prem Ratan Dhan Payo - Mukhda Hook 1

https://soundcloud.com/vivek-datta-diehard-2-0/prem-ratan-dhan-payo-mukhda-hook-1

Prem Ratan Dhan Payo - Mukhda Hook 2

https://soundcloud.com/vivek-datta-diehard-2-0/prem-ratan-dhan-payo-mukhda-hook-2

Himesh's take on PRDP

From 7:08 to 7:18, Himesh says...more than my music, its Sooraj ji's music...it is not my music, it is definitely Sooraj Barjatya's music...ek maine unka bas saath diya hai, that's it.

100% agree with Himesh. if Himsh was given his own creative freedom and scope, the album would be much different, but Himesh has to fulfill Rajshri's requirement within parameters and deliver the music which they exactly want and which is suited for their narrative, storyline, situations and which represents their household values.

Sooraj ji's take on Himesh

From 1.00 onwards...Sooraj ji says, that in the first narration, with no instruments, just he sang and we locked about 5-6 tunes...including the title trax...actually i have spend 6-7 months on music in general, but in half an hour we locked 4-5 tunes...i have never seen any music director who wants to change the tune so fast...i have locked, and he says i want to change, i'l give something else...and i said, its locked...his greatest strength is the simple words, simple hooks, simple thoughts. Generally speaking, Sooraj ji seems to be such a nice and genuine person, like a mukhia of a mandir.

Musically Yours - Aman

This unplugged version of Prem Leela shows why Prem Leela is the best song of PRDP (along with Jalte Diye - TIE). The continuous underlying tune is giving terrific scale, and two of Aman's lines are sung even better than in the OST. His line, SEEKEGA CHABEELA from 0:57 to 0:58, and MILJAAYE AARAM SE (off-da-hook catchy) from 1:28 to 1:29...these two lines should have been sung like this in the OST to make the song more catchier. The song also sounds catchy in slower tempo, may be there could be a slower semi plugged version 2.