Sanam Teri Kasam

The song begins with a mysterious spooky haunt feel bazz sound.

The laidback rhythmic beat kicks in from 0:06 onwards along with vintage funky guitar until 0:18

The guitar theme riffs join in from 0:19 onwards.

The awesome passionate violin piece in semi plugged mode from 0:43 to 0:53 builds up the song.

Ankit Tiwari is the perfectly apt choice.

Ankit's lines from 0:53 to 1:05 comprising of terrific high pitched hooks in semi plugged mode build up the mukhda lines. The tune of these lines are inspired from mukhda lines from 0:55 to 1:04 in GORE MUKHDE PE ZULFAN DI CHAAVAN from SPECIAL 26.

Ankit's line, BADUA-AAAA (straight note) at 1:10, BADUA-AAAA (down twist gives completeness effect) from 1:17 to 1:18 is well structured.

The song buid up until this point is quite good, after which it kicks off from 1:21 onwards.

Ankit's mukhda lines from 1:19 onwards along with underlying rhythmic beat gets the listener slowly but surely into da zone.

The pattern of underlying beat is by quick tapping of Bongos.

Ankit's lines, MAR JAAYENGE HUM (awesome heartfelt vocals give halke se feel) from 1:23 to 1:26, KASAM-MMM (awesome prolonged twist) from 1:34 to 1:36

The repetitive mukhda hook SANAM TERI KASAM from 1:25 to 1:34 & 1:41 to 1:51 has a sense of deja-vu feel but nevertheless free flowing and likeable, also due to the song's scale which is ideally perfect.

Awesome beat effect from 1:32 to 1:36

Palak's lines from 1:37 to 1:42 in semi plugged mode have warmth in them. She has a short but melodiously warm impactful stay throughout the song.

Between mukhda & 1st stanza, the guitar theme piece riffs are back from 1:54 to 2:05 along with passionate violin piece from 2:05 to 2:15 in semi plugged mode.

1st stanza

The stanza lines are free flowing and complement the mukhda, whereby the listeners stay in the groove. Ankit goes about in his usual heartfelt tone and vintage singing style.

Ankit's lines from 2:16 to 2:28 have good composition pattern and are likeable, especially the pause gap in lines HUA...YEH KYA (well sung with pause gap), MERA-AAA (nice profound twist), JUDA...HUA (well sung with pause gap).

Ankit enters the passionate broken rockstar singing mode from 2:29 to 2:34 in lower notes.

Awesome beat effect from 2:27 to 2:28 & 2:47 to 2:48

Profound guitar riff at 2:34

Underlying haunt feel sound makes its presence felt from 2:52 to 2:54

Between 1st & 2nd stanza, guitar riffs along with underlying fluctuating bazz sound from 3:28 to 3:41 are followed by intense acoustic guitar and heavy laidback drum hits from 3:41 onwards to depict the curse in love story along with a nice sprinkler effect from 3:53 to 3:54

2nd stanza

The stanza lines are free flowing and complement the mukhda, whereby the listeners stay in the groove. Ankit goes about in his usual heartfelt tone and vintage singing style.

Ankit's lines from 3:54 to 4:06 have good composition pattern and are likeable, especially the pause gap in lines NASHA...TERA (well sung with pause gap), LAGA-AAA (nice profound twist), DENA...NAHI (well sung with pause gap).

Ankit enters the passionate broken rockstar singing mode from 4:07 to 4:!2 in lower notes.

Awesome beat effect from 4:05 to 4:06 & 4:25 to 4:26 

Profound guitar riff at 4:12

Underlying haunt feel sound makes its presence felt from 4:29 to 4:31

Anikt's line, DOOR JAOGE JOH TUM (awesome variation singing) from 4:32 to 4:35

Highlights of this song:

1. Ankit's heartfelt vocals and Palak's warm melodious vocals.

2. Underlying rhythmic laidback beat, mysterious spooky haunt feel sound, guitar theme piece, passionate violin piece, intense acoustic guitar in between 2nd stanza gap.

Kheech Meri Photo

The song begins with a hilarious jugalbandi of raw pots and pans until 0:06.

The groovy tune that joins in from 0:07 onwards gets the listener into the groove.

Darshan Raval sings the mukhda lines which build up the song with a nasheela suroor, but enters the Ankit Tiwari zone due to the way he moulds his tone and pronounces LAMHA. It could be a deliberate attempt to sing this way, as the requirement is to sing like a high youngster who already has few Tequila shots in his system, but unintentional to emulate Ankit's tone and singing style.

The repetitive mukhda hook is effective and rhythmic along with the peppy arragments. It is sung well in combo of Neeti and Akasa's vocals.

Between mukhda & 1st stanza, hilarious jugalbandi of raw pots and pans is joined in by groovy tune from 1:30 to 1:36 that gets the listener into the groove, followed by quick string riffs from 1:37 onwards along with clap effect and a groovy tune until 2:03

Between 1st & 2nd stanza, heavy raw drums from 3:11 to 3:18 are followed by peppy vibrant upbeat club tune 3:19 to 3:25 and combo of quick clap effect and groovy tune until 3:39

1st & 2nd stanza

The composition pattern of female stanza lines comes from pre ABA item numbers style of music, but the hinderance is that it sounds deja-vu.

The semi plugged backdrop arrangements from 2:04 to 2:19 & 3:40 to 3:55 are raw.

Darshan sings the peppy lines from 2:19 to 2:26 & 3:55 to 4:02 with his own tone and identity.

Highlights of this song:

1. Darshan drowsy vocals, Akasa and Neeti's feel good vocals.

2. Raw instruments comprising of pots, pans and drums.

3. Peppy vibrant upbeat club tune in between 2nd stanza.

Bewajah

The song begins with warm feel high pitched grand piano keys in unplugged mode until 0:17, especially from 0:08 to 0:13 which have a warm undertone and konnekt.

Awesome guitar theme strumming that joins in from 0:17 to 0:30 onwards builds up the song.

Himesh sings in a different unrecognizable tone from his usual default Sufi Rwak tone, like how he sung TERI MERI DOSTI from RADIO.

Himesh's heartfelt lines from 0:31 to 0:57 build up the mukhda, bhaut shidaat se gaaya hai.

Himesh's mukhda line, BEWAJAH NAHI MILNA (awesome desperation feel twist) from 0:58 to 1:02, REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11

The composition pattern of lines BEWAJAH NAHI MILNA TERA MERA enters a compound zone like a far away unknown uninhibited territory.

The quick drum hits from 1:10 & 1:38 onwards followed by underlying rhythmic rock beat gets song into full flow and along with Himesh's vocals gets the listeners into the zone to feel it.

The underlying continuous vibrant metal guitar piece from 1:!2 to 1:26 & 1:40 to 1:52 onwards accentuates the Rock On feel.

The guitar strumming in the backdrop from 1:26 to 1:38 along with Himesh's lines is likeable.

Between mukhda & 1st stanza, a distorted guitar plays from 1:53 to 2:06 followed by guitar theme strumming 2:07 to 2:!2 and a sudden piano key at 2;13

1st stanza

Himesh softens his vocals chords and sings with subtle feel. The piano interlude keys enhance the overall pleasant feel good factor.

The tune from 2:!4 to 2:17 sounds deja-vu, as if previously heard and plays spoilsport to an extent. It may have been a co-incidence but Himesh should have opted for another stanza tune in this portion for better overall impact of song.

Himesh enters the Kumar Sanu zone in lines from 2:27 to 2:29 which are vingate tailor made for Sanu's trademark singature singing style. His attempt to sing this way in order to show another variation and facet of his singing repository makes the listener smile.

The song picks up again from 2:39 onwards with quick heavy repetive hits and underlying rhythmic rock beat.

Off-da-hook heavy hit pattern from 2:52 to 2:54

Between 1st & 2nd stanza, warm piano keys play from 3:08 onwards in unplugged mode and portion from 3:15 to 3:20 is heartwarming and wins over / konnekts with listener due to inherent soul feel, followed by loopy metal guitar from 3:21 onwards which gives sike at 3:32 due to the abrupt modulation.

2nd stanza

Himesh softens his vocals chords and sings with subtle feel. The piano interlude keys enhance the overall pleasant feel good factor.

The tune from 3:36 to 3:38 sounds deja-vu, as if previously heard and plays spoilsport to an extent. It may have been a co-incidence but Himesh should have opted for another stanza tune in this portion for better overall impact of song.  

The song picks up again from 4:01 onwards with quick heavy repetive hits and underlying rhythmic rock beat.

The song ends with awesome guitar theme strumming in unplugged mode.

Highlights of this song:

1. Himesh's heartfelt singing with a different Sufi Rwak tone.

2. Guitar theme piece strumming, grand piano keys, warm heart warming piano keys followed by loopy metal guitar in between 2nd stanza gap.

Tera Chehra

The song begins with guitar riffs theme piece in unplugged mode.

The underlying subtle tabla beat pattern that catches the classical pulse of listener joins in from 0:07 onwards.

The mukhda tune is quite catchy and it comes from Himesh's top musical drawer.

Arijit Singh is the perfect choice and he sings in his vintage mode.

Arijit's lines, MERI BECHANIYON KOH, CHAIN MIL JAAYE from 0:16 to 0:26 have superb lyrics.

Arijit's line, MERI BECHANION KOH (awesome composition pattern) from 0:16 to 0:19

Arijit's line, JAAYEEEEE (off-da-hook catchy fulltu high pitch twist, pours his heart out) EEEEE (down twist gives halke se feel as if an aircraft loses sudden altitude) from 0:22 to 0:25, 0:48 to 0:51 & 1:22 to 1:25

The combo of Arijit's line, MERE DEEWANEPAN KOH along with feel good gutiar riffs from 0:44 to 0:46 catches the listener's pulse.

Arijit's line, CHEHRA-AAA (off-da-hook twist) at 0:37, 0:56 & 1:35

Arijit sings in subtle feel mode from 1:00 to 1:05

Arijit's line, DEKHO NA AANKHON SE (happy feel vocals), BEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 1:12 to 1:15

Arijit's lines, NOOR (trademark Arijit) at 1:19, CHEHRA-AAA (trademark Arijit) at 1:29

In between mukhda & 1st stanza, the guitar theme piece riffs play.

1st stanza

Arijit Singh goes about his merry ways in the repetitive hook lines from 1:51 to 2:06 which are free flowing, have shayarana lyrics and complement the mukhda.

Arijit's line, DEKHO NA HOTON PE (happy feel vocals) TERA EHSAAS (terrific composition pattern), REH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 2:!3 to 2:21

Arijit's line, MERE HAR RAASTE KOH, MANZIL MIL JAAYE from 2:22 to 2:31 have superb lyrics.

In between 1st & 2nd stanza, the combo of subtle violin piece and piano keys from 2:48 to 3:03 is joined in by subtle jazzy metal guitar from 3:04 to 3:20

2nd stanza

It is better than 1st stanza.

Arijit Singh goes about his merry ways in the repetitive hook lines from 3:21 to 3:36 which are free flowing, have shayarana lyrics and complement the mukhda.

Arijit's line, DEKHO NA HAI LAMHA (happy feel vocals) TERi DASTAAN (terrific composition pattern), KEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 3:44 to 3:51

Arijit's line, MERI HAR IK TADAP KOH, SUKOON MIL JAAYE from 2:22 to 2:31 have superb lyrics.

The combo of Arijit's line, MERI HAR IK TADAP KOH along with feel good gutiar riffs from 3:54 to 3:55 catches the listener's pulse.

Arijit's line, SUKOON (trademark Arijit) from 3:56 to 3:57

Highlights of this song:

1. Arijit Singh's subtle feel and fulltu high pitch vocals.

2. Underlying quick tabla hit pattern and guitar theme piece riffs.

3. Subtle violin piece and piano keys joined in by subtle jazzy metal guitar in between 2nd stanza gap.

4. Superb lyrics especially in the lines whenever the tune of mukhda hook comes.

Haal-E-Dil Male

The song begins with painfully agonizing moaning yells and spooky mysterious bazz sound as if someone is trapped in the deep down unknown dungeon cells of Prince of Persia.

The grand high pitched piano keys join in from 0:!3 onwards.

The mukhda line HAAL-E-DIL MERA is based on a complex raag.

The underlying beat with a mysterious spooky feel is laidback rhythmic.

Sreeram sings with desperation feel vocals.

Usually in almost all cases, the scale of the arrangement and scale of vocals is the same. But in the song intro, the underlying bazz sound has a different intriguing scale as compared to the vocals until and this is done deliberately until the mukhda end until 1:41 to accentuate the haunt feel factor. Thus, it is experimental stuff by Himesh.

Between mukhda & 1st stanza, painfully agonizing moaning yells and spooky mysterious bazz sound is back from 1:31 to 1:45 to torment the lover and remind of his dark space, followed by grand high pitched piano keys from 1:45 to 2:00

Between 1st & 2nd stanza, metal guitar from 3:25 to 3:39 is followed by grand high pitched pinao keys from 3:39 to 3:56

1st stanza & 2nd stanza

The scale of the song makes more sense from stanza onwards as the bazz sound subsides and is replaced by the underlying subtle constant piano keys interlude that enhance the haunt feel, which deliberately are still at a slightly offbeat intriguing scale as compared to the vocals to continue that haunt feel vibe.

Sreeram's lines from 2:02 to 2:31 & 3:56 to 4:25 sung with desperation feel are likeable.

The song enters a complex intense zone from 2:32 & 4:26 onwards.

Sreeram's lines, (super low notes) from 2:43 to 2:46 & 4:37 to 4:40 test his lower octave range and stretch them to their down level limit.

Sreeram's lines from 2:47 to 3:01 & 4:41 to 4:55 sung with profound classical twists on a descending composition pattern are likeable.

Sreeram's line, OO OO (terrific desperation plea with tadap and kashish) from 4:56 to 4:57

The song ends with a rather abrupt beat pattern that is partially cut off.

Highlights of this song:

1. Sreeram's desperation feel vocals.

2. Underlying laidback rhythmic beat.

3. Haunt feel backdrop piano keys in stanzas.

Haal-E-Dil Female

The song begins with heavy guitar strumming in unplugged mode, joined in by underlying laidback rhythmic beat and mysteriously spooky bazz sound.

The grand high pitch piano plays from 0:21 to 0:35

Neeti sings with haunt feel vocals.

It has a free flowing tune and along with the combo of laidback rhythmic beat and vocals, the song becomes a free flowing affair.

The mukhda line HAAL-E-DIL MERA (haunt feel melody, based on a complex gambhir raag), PUCHO NA SANAM (pre ABA style) comes from pre ABA style of Vaada days.

Awesome beat effect from 0:47 to 0:49 & 1:14 to 1:16

Neeti's lines, AAP KE ISHQ KI (terrific haunt feel vocals) from 1:01 to 1:03, (MADHOSHI MEIN-NNN, DOOBA-AAA, HAAIN-AAAIN  (off-da-hook profound quick classical twists on a descending composition pattern) from 1:06 to 1:!2 have an eternal love lasting feel to them along with a terrific composition pattern. 

Neeti's line, PUCHO NA SANAM (awesome feel) - MMMMM (awesome prolonged) from 1:31 to 1:36 is trademark pre ABA.

Between mukhda & 1st stanza, a mysterious Arabian tune with quick profound twists plays from 1:38 to 1:52 along with underlying profound thumping drum hits in semi plugged mode, followed by a Mandolin piece with underlying laidback rhythmic beat from 1:53 to 2:08, and this whole portion from 1:38 to 2:08 catches the listener's pulse.  

1st stanza

Neeti enters the Rekha Bhartwaj territory with her whole hearted dil khol singing in lines AAYE (trademark whole hearted Rehka Bharthwaj twist) from 2:11 to 2:13 & 2:15 to 2:!7, LAAYE (trademark whole hearted Rehka Bharthwaj twist) from 2:20 to 2:21

She could have also opted to sing these lines in her own andaz instead for originality.

The song enters the complex intense zone with a painful dukhiyaari feel from 2:40 to 2:47 in unplugged mode as if to depict the curse of the love story, whereby the intermittent grand tune enhances the intensity factor.

Neeti's line, CHALE-EEEEEEEE (awesome prolonged Alto low notes) from 2:49 to 2:53

The quick rising high end keys from 2:52 to 2:55 and kick start of beat at 2:55 gives great intermittent effect.

The combo of Neeti's vocals along with underying rhythmic laidback beat from 2:55 to 3:07 gives a feel of the listener slowing spinning outer space and galaxy of love.

Neeti's lines, RAAT DIN HAR GHADI (terrific haunt feel vocals) from 2:55 to 2:58, SARGOSHI MEIN-EIN, KHOYA-AAA, HAIN-AAAIN (off-da-hook profound quick classical twists on a descending composition pattern) from 2:59 to 3:09 have an eternal love lasting feel to them along with a terrific composition pattern. 

Between 1st & 2nd stanza, an intense mysterious Arabic tune along with profound classical tabla hits catch the listener's pulse. Awesome sprinkler effect from 3:45 to 3:48 and awesome residual echo effect from 3:48 to 3:49

2nd stanza

Neeti enters the Rekha Bhartwaj territory with her whole hearted dil khol singing in lines AAYE (trademark whole hearted Rehka Bharthwaj twist) from 3:54 to 3:56, PARAAYE (trademark whole hearted Rehka Bharthwaj twist) from 3:58 to 3:59

She could have also opted to sing these lines in her own andaz instead for originality.

The song enters the complex intense zone with a painful dukhiyaari feel from 4:19 to 4:26 in unplugged mode as if to depict the curse of the love story, whereby the intermittent grand tune enhances the intensity factor.

Neeti's line, YAHAAN-AAAAAN (awesome prolonged Alto low note twist) from 4:30 to 4:32

The combo of Neeti's vocals along with underying rhythmic laidback beat from 2:55 to 3:07 gives a feel of the listener slowing spinning outer space and galaxy of love.

The quick rising high end keys from 4:31 to 4:34 and kick start of beat at 4:34 gives great intermittent effect.

Neeti's lines, AAP KE PYAAS KI (terrific haunt feel vocals) from 4:34 to 4:37, KHAMOSHI SE-EEE, BHEEGA-AAA, HAI-AAAI (off-da-hook profound quick classical twists on a descending composition pattern) from 4:37 to 4:45 have an eternal love lasting feel to them along with a terrific composition pattern. 

Neeti's line, MERA-AAA (awesome desperation plea twist) from 5:01 to 5:02, PUCHO NA SANAM-MMMM (sung with tadap leaves the listener heavy hearted) from 5:06 to 5:11

The free flowing composition pattern is likeable.

Highlights of this song:

1. Neeti's haunt feel vocals.

2. Underlying laidback rhythmic beat, guitar strumming at start, mysterious Arabian tune qich quick twists in between 1st stanza, intense mysterious Arabic tune along with classical profound tabla hits in between 2nd stanza gap.

Ek Number

The song begins with Arabian theme piece guitar in unplugged mode, joined in by quick mischievious piano keys from 0:12 to 0:14

The rhythmic Hip Hop beat kicks in from 0:15 onwards with a wicked skip pattern.

Computerized desperation feel echo vocals from 0:21 to 0:30

The lyrics, arrangement and treatment of this song has come from a similar thought process during the creation of DOWNLOAD KAR GAYEE from A LOVE ISHTORY.

There is a constant voltage voltage sound in the backdrop.

Himesh the Sufi Rwak singer is back.

His mukhda lines from 0:30 to 0:38 have trendy Gen Y lyrics.

Himesh's lines, KAR LE-EE (awesome quick twists) at 0:32, 0:35, 0:38, 1:03, 1:06 & 1:39

In terms of composition, the mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and along with the underlying beat, gets them into da zone to feel it.

Neeti's carefree seductive feel lines from 0:51 to 1:01 build up the passionate flair, dimag kharaab karta hai.

Neeti's falsetto vocal interlude HA-AH enhances the overall impact of Himesh's mukhda hook.

Naughty Neeti's non comprehendo blabber from 1:30 to 1:31 drivers the listener crazy, dimag kharaab karta hai.

Between mukhda & 1st stanza, the Arabian theme piece guitar plays. The bazz sound along with loopy guitar effect in unplugged mode from 2:06 to 2:08 is awesome.

1st stanza

Versatile Neeti changes her mode and tone, to adapt quickly and deliver her stanza lines with subtle feel.

Neeti's line, SAMJHAA-AA (awesome profound twist) at 2:12, RISHTA-AA (awesome profound twist) at 2:15

The composition pattern of stanza lines from 2:09 to 2:28 comes from Sufi Rwak school of music whereby good old Himesh - The Sufi Rwak singer is back.

The start stop gap at 2:17 followed by Himesh's lines along with underlying Hip Hop beat from 2:18 onwards gives kick, gets the listeners into the zone and makes them feel it.

Himesh's line, YEH ADHURA (Rwakin Sufi Rwak singing konnekts) from 2:23 to 2:24, HEERIYE-EE (off-da-hook intense emphasis singing wins over listener) from 2;26 to 2:27

Between 1st & 2nd stanza, feel good vintage guitar piece in semi plugged mode is joined in by Neeti's seductive feel good vocals, with emphasis on HOLD ME (terrific aggressive) at 3:10, INSEPARABLE (awesome falseto echo effect) from 3:14 to 3:18

2nd stanza

Versatile Neeti changes her mode and tone, to adapt quickly and deliver her stanza lines with subtle feel.

The composition pattern of stanza lines from 3:18 to 3:38 comes from Sufi Rwak school of music whereby good old Himesh - The Sufi Rwak singer is back.

The start stop gap at 3:28 followed by Himesh's lines along with underlying Hip Hop beat from 3;29 onwards gives kick, gets the listeners into the zone and makes them feel it.

Himesh's lines from 3:29 to 3:38 have Uber Rwakin Nazal Twang and they win over the listener.

Highlights of this song:

1. Himesh's Sufi Rwak vocals and Neeti's feel good / subtle feel vocals.

2. Underlying rhythmic Hip Hop beat with a wicked skip pattern.

3. Arabian theme piece guitar.

4. Bazz sound along with loopy guitar effect in unplugged mode in between 1st stanza gap, and feel good vintage guitar piece in between 2nd stanza gap.

5. Trendy Gen Y lyrics in mukhda.

Ek Number - Music Video

Vinay Sapru and Radhika Apte were choreographers also and they have choreographed many songs for Salman Khan. But in Himesh's stanza lines, Vijay Raaz is sitting on the stairs with Firangi gals and doing the Qawali hand moments. This seems to be a mistake, because Ek Number is not a Qawali number but a Sufi Rwak styled number, especially the composition pattern and singing stye of stanzas. Vinay and Radhika ought to know this as one of the work of choreographers is to get the nuance of the song and then assign apt dance steps to match it.

The fantastic actor Vijay Raaz is lip singing to Himesh's voice in the music video, while Vijay Raaz is a fantastic actor with all due veteran respect, him lip singing to Himesh's vocals is hard to digest because if Himesh is singing exclusively these days then he should ensure that top superstars or atleast male leads are going to lip sing to his voice. If support cast will lip sing to his voice, it will pitch down its credibility and effect to a lower level. Himesh's voice should be projected in the spotlight which means that even the music videos matter and who is lip singing to his voice also matters if the video is going to create an impact.

Mawra Hocane is getting a makeover, and the makeover gal is quite aggressive as she bumps into Mawra at 1:04, zor ka dhakka and hard body contact, oouch. She is naughty at 1:38 & 2:00, Mawra looks bheegi billi at 1:50 and cutie at 3:07

Main Teri Yaadon Mein

The song begins with underlying rwakin high voltage livewire electronic beat.

Arijit's mukhda lines from 0:14 to 0:29 build up the song.

Although the composition pattern of mukhda hook from 0:30 to 0:58 sounds deja-vu, but it is effective and konnekts along with off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect.

Between mukhda & 1st stanza, an Arabian tune plays.

Between 1st & 2nd stanza, a feel good vintage guitar piece plays.

1st stanza & 2nd stanza

The free flowing composition pattern is from the retro era and it compliments the mukhda.

Arijit's lines, TERE BIN JEENA KYA (terrific singing) from 3:25 to 3:28 & 3:40 to 3:43, ME (terrific feel twist) at 3:34

The song runs through a fast lane from the start to end and expresses the urgency of love via the yesteryear Retro club track mode.

Highlights of this song:

1. Arijit's intense feel vocals.

2. Rwakin high voltage livewire electronica beat.

3. Off-da-hook quick accelerating kickass beat that gives kill effect.

4. Arabian tune in between 1st stanza gap and feel good vintage guitar piece in between 2nd stanza gap.

Sanam Teri Kasam - Reprise

The guitar strumming build up until 0:23 gives a Humraaz feel.

Mohd Irfan's line, BADUA-AAA (trademark Mohd Irfan) from 0:51 to 0:52

The likeable reprise beat is subtle laidback rhythmic and along with feel good guitar riffs, it makes proceedings bit upbeat / jubilant.

The additional feel good guitar strumming from 1:06 to 1:07 adds to the rhythmic flow.

The mukhda hook has been sung with subtle passionate restrained vocals, and this over zealous albeit restrained singing has kind of backfired as compared to the original version.

Between mukhda & 1st stanza, the passionate violin piece along with underlying rhythmic reprise beat from 1:47 onwards gives good rhythm.

1st stanza & 2nd stanza

The guitar strumming from 1:57 to 2:09 & 3:35 to 3:48 provides great intermittent rhythm to Irfan's lines.

Likeable feel good guitar riffs from 2:37 to 2:42 & 4:15 to 4:19

Highlights of ths song:

1. Mohd Irfan's passionate feel vocals.

2. Underlying rhythmic laidback riffs and guitar atrumming in stanzas.

My Picks

1. Ek Number, Tera Chehra, Sanam Teri Kasam, Main Teri Yaadon Mein - TIE

Ek Number

Himesh - the Sufi Rwak singer is in full form, especially with his Uber Rwakin Nazal singing in the stanzas which wins over / konnekts with listener, and reminds of Kajraare days. Nobody could have sung this song better than him. Ofcourse, the second obvious choice would have been Mika Singh but thankfully Himesh - the composer did not give it to him. Mika could have sung this song very well in his anokha andaaz, but nowhere as good as Himesh and also the trademark Sufi Rwak cravings would have gone missing for a toss if Himesh would have opted for Mika, since the composition pattern of stanza lines that come from Himesh's Sufi Rwak's school music allowed perfect scope and were tailomade for Uber Rwakin Nazal Twang. In terms of composition, the mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and along with the underlying beat, gets them into da zone to feel it. The rhythmic Hip Hop beat has a wicked skip pattern. Himesh's mukhda lines have trendy Gen Y lyrics.
Versatile Neeti keeps the song trendy in with her English lines and also adapts quickly in stanzas to sing with subtle feel vocals as desired to compliment Himesh.

Tera Chehra

It is a Ghazal based song whose mukhda comes from Himesh's top musical drawer and wins over the listener. Arijit's best lines are his mukhda lines, MERI BECHANION KOH (awesome composition pattern) from 0:16 to 0:19, JAAYEEEEE (off-da-hook catchy fulltu high pitch twist, pours his heart out) EEEEE (down twist gives halke se feel as if an aircraft loses sudden altitude) from 0:22 to 0:25, 0:48 to 0:51 & 1:22 to 1:25, DEKHO NA AANKHON SE (happy feel vocals), BEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 1:12 to 1:15, Arijit has done great voice intonation, vocal throw and vibrato effect in the ending notes of certain lines. The underlying subtle tabla beat pattern catches the classical pulse of listener and underlying guitar strumming is effective along with the vocals. Superb lyrics especially in the lines whenever the tune of mukhda hook comes. If this song would have been a duet or had a female version sung with lower Alto octave vocals, its impact would have been even manifolds. Some portions of Arijit's singing have kashish in them.

Sanam Teri Kasam

The song keeps on growing upon the listeners and slowly but surely gets them into the groove for compelling repeat hearings. It covers the essence of the title and narrative from all angles i.e. the starting mysterious spooky feel bazz sound and intense acoustic guitar in between 2nd stanza gap conveys elements of deciet and misunderstanding in an edgy afair, the heartfelt vocals convey the warmth in love, the passionate violin piece conveys the passion in between lovers. What works in the song's favor is that it has an innovative rhythmic laidback pattern despite having quite a slow tempo, and the listener gets into the groove due to the rhythmic laidback beat pattern along with warm heartfelt vocals. The heavy rhythmic laidback beat is apt as it makes proceedings free flowing along with mysterious haunt feel with a curse and arrangements with a dejected undertone. Best part of song is Ankit's starting repetitive high pitched muhda lines in unplugged mode from 0:53 to 1:05, DOOR JAOGE JO TUM, MAR JAAYENGE HUM (heartfelt vocals give halke se feel) from 1:19 to 1:25, KASAM-MMMM (awesome prolonged twist) from 1:33 to 1:34, Ankit's stanza lines, HUA...YEH KYA (well sung with pause gap), MERA-AAA (nice profound twist), JUDA...HUA (well sung with pause gap) from 2:16 to 2:28 in 1st stanza, NASHA...TERA (well sung with pause gap), LAGA-AAA (nice twist), DENA...NAHI (well sung with pause gap) from 3:54 to 4:06 and Palak's melodious warm vocals. The previous instance where Himesh gave a song in such a zone in terms of template, tempo and feel was Naina Re from Dangerous Ishq.

Main Teri Yaadon Mein

The tune belongs to the Retro era of yesteryear, but it is given a new age contemporary arrangement with a Rwakin high voltage livewire electronic beat. It runs through a fast lane from the start to end and conveys the urgency of love via the Retro club track mode. Best part of song is Arjjit's mukhda hook mukhda hook from 0:30 to 0:58 that konnekts, along with off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect. Arijit eases through his singing and makes it look easy, whereas in reality this song requires patience and composure to sing such long patches and interludes at a stretch, yet with desperation feel and urgent intensity. His prolonged ending notes and subtle feel twist variations in the mukhda portions are commendable. The vibe of the song is such that the listener feels like jumping back into the Retro yesteryear era and groove to this track in an upscale disco club of the 80s.

2. Haal-E-Dil Female, Bewajah - TIE

Haal-E-Dil Female

The song gives a feel as if the listener from the female point of view is securely trapped at the topmost level in Prince of Persia game, and is hoping and craving for their lover to make their way to the top to reunite again. It is one of Himesh's better and extreme songs in the Haunt Feel category. The mukhda hook is comprised of HAAL-E-DIL MERA (haunt feel melody based on complex gambhir raag) PUCHO NA SANAM (off-da-hook pre ABA styled melody that gives completeness effect and wins over / kokkekts with listener). Best melody is in Neeti's lines, AAP KE ISHQ KI (terrific haunt feel vocals) from 1:01 to 1:03, MADHOSHI MEIN-NNN, DOOBA-AAA, HAAIN-AAAIN  from 1:06 to 1:!2, RAAT DIN HAR GHADI (terrific haunt feel vocals) from 2:55 to 2:58, SARGOSHI MEIN-EIN, KHOYA-AAA, HAIN-AAAIN from 2:59 to 3:09, AAP KE PYAAS KI (terrific haunt feel vocals) from 4:34 to 4:37, KHAMOSHI SE-EEE, BHEEGA-AAA, HAI-AAAI  from 4:37 to 4:45 that have off-da-hook profound quick classical twists on a descending composition pattern and have an eternal love lasting feel to them. It is extremely challenging and quite difficult for any other composer to emulate and make such a haunt feel melody song which is of the 'mybaap' level in this genre.   

Bewajah

It is a Rock based song that could have easily fit into Rockstar and Rock On, and Farhan Akthar would have loved to have it on board for Rock On 2, given the theme and narrative of his band based sequel film. Best instrumentation is the wesome guitar theme strumming and heartwariming piano piece from 3:15 to 3:20 that wins over / konnekts with listener due to its inherent soul feel. The deja-vu stana tune by an inspired Himesh plays spoilsport to an extent whereby he could have considered opting for another composition pattern for the stanza. Himesh's best line is his mukhda line, BEWAJAH NAHI MILNA (awesome desperation feel twist) from 0:58 to 1:02, REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11 & 4:41 to 4:42

Out of the world singing in mukhda line, BEWAJAH NAHI MILNA TERA MERA (takes listener to an unknown territory), REHUMA REHNUMA REHNUMA, stanzas tailor made for Kumar Sanu's voice, unplugged piano piece in between 2nd stanza gap is soul of album.

3. Kheech Meri Photo, Sanam Teri Kasam Reprise, Haal-E-Dil Male - TIE

Kheech Meri Photo

It is an energetic peppy track. Best part is the repetitive mukhda hook KHEECH MERI PHOTO sung in combo with Akasa's and Neeti's vocals which sounds rhythmic along with the peppy arragments. Since the trend of taking Selfies is going around, the hook line Keech Meri Photo will grab the attention during the selfie clicks. Therefore it is a well strategized song which has attempted to catch the pulse with regards to the current trend.

Sanam Teri Kasam Reprise

The likeable reprise beat is subtle laidback rhythmic and along with feel good guitar riffs, it makes proceedings bit upbeat / jubilant, thus justifying its context in the reprise which is basically homecoming of lovers after stern tests and agnee pariksha of love. In terms of singing, Ankit Tiwari's overall singing is better than Mohd Irfan's singing, whereby Mohd Irfan's over zealous albeit restrained singing in mukhda hook has kind of backfired as compared to the original version. He could have sung this mukhda portion with a different approach but he has sung the remaining parts well. Another perspective is that both singers stayed true to the song's identity, whereby Ankit Tiwari sang with broken heartfelt vocals and Mohd Irfan sang with over passionate zealous vocals depicting a jubilant elated passionate lover who is getting another chance at his second homecoming of love. Overall in totality, the original version is better than Reprise.

Haal-E-Dil Male

The song gives a feel as if the listener from the male point of view is trapped in unknown dark mysterious dungeons in Prince of Persia game, and is trying to make their way to the top level in quest for their trapped love and to quench their cravings for love. It is quite a difficult song to sing due to the offbeat intriguing scale, the mukhda line HAAL-E-DIL MERA, the profound classical twists in descending mukhda line and the low notes in the stanza. The song depicts the tadap of ever lasting love. Upon listening the song intro and subsequent mukhda vocals of Sreeram, the listener initially wonders what is the scale of the song, and tries to guage it. Thus, it requires quite intelligent listening to come to terms with it and tests the listener's knowledge, wits and wisdom in classical / semi classical / raag based genre to get a grip with the song because for a shallow listener this song would not make much of sense. This song is like a googly and carrom ball for the listener to figure out in terms of food of thought. Music has some complex pathways too and this is a jig saw puzzle near those edges, boundaries and paths. This is one of the most complex intriguing songs of Himesh whereby he could have easily given Sreeram to sing on the same template, scale and arrangements of the female version, to make it more melodious but he wanted to do true justice from the tormented male lover's viewpoint which made this song a situational fare. Another singer that comes to mind for this song is KK, but these days Himesh is giving youngsters a chance and also KK hasn't sung for Himesh and hasn't been in his musical set up since quite a while.

Verdict

The album has two peppy tracks targeted at mass and youth in form of Ek Number and Kheech Meri Photo, haunting melody in form of Haal-E-Dil female, mysterious spooky in form of Haal-E-Dil male, ghazal based in form of Tera Chehra, Retro Electronica in form of Mein Teri Yaadon Mein, Rock based in form of Bewajah, and sad cursed undertone in form of Sanam Teri Kasam which captures the essence of film. Therefore, it is an album with variety and a bit of everything in terms of diverse genres whereby Himesh has expoited the creative scope and freedom. It shows the capability of Himesh when he is at the helm of affairs for love stories as opposed to out and out massy scores. The special effort put in by Himesh - the composer is evident in this album which is better than many of his non filmy albums in the recent past, including the recent Prem Ratan Dhan Payo. Due to the unconventional tunes along with new age orchestration, the album has fresh sound. Mesmerising captivating imaginary lyrics and selection of currently popular singers is also an add on.

Also, the storyline gave him more scope to create a diverse score and include songs like Haal-E-Dil which would have never seen the light of day in otherwise massy scores he has done in recent past. Also, such a soundtrax can accomodate a ghazal based song like Tera Chehra, whereby Himesh would not normally experiment with such a genre in a massy score due to its perceived audience appeal and reach e.g. he had also composed a terrific ghazal based song like Sheeshe Ka Samundar but included it in his own film The Xpose but would not ideally prefer to give such tracks in a score that warrants guaranteed commercial success by its makers who want to play totally full proof safe and take no chances.

Composition

Himesh has shown a new facet in terms of compositional style in most songs i.e. in overall terms, the songs do not belong from the Himesh stable, but have traces in bits n pieces of his trademark style.

> Tera Chehra - The mukhda tune that comes from Himesh's top musical drawer is quite catchy and wins over the listener.

> Ek Number - mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and stanza lines that come from Himesh's  Sufi Rwak school of music.

> Main Teri Yaadon - mukhda hook which although sounds deja-vu, but is effective and konnekts with listener.

> Haal-E-Dil - The mukhda line HAAL-E-DIL MERA (haunt feel melody), PUCHO NA SANAM (pre ABA style), mukhda and stanza lines (off-da-hook profound classical twists on descending composition pattern) from 1:06 to 1:!2, 2:59 to 3:09 & 4:37 to 4:45

> Sanam Teri Kasam - intro lines from 0:53 to 1:05 comprising of terrific high pitched hooks in semi plugged mode, repetitive mukhda hook SANAM TERI KASAM from 1:25 to 1:34 & 1:41 which is free flowing and likeable, Ankit's stanza lines from 2:16 to 2:28 & 3:54 to 4:06 have good composition pattern and the pause gap in between tnem is likeable.

> Bewajah - REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11 & 4:41 to 4:42

Orchestration

The extra attention to detail in arrangement and use of new age beats reflects in the songs.

> Main Teri Yaadon Mein- Rwakin livewire electronic beat and off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect.

> Ek Number - Underlying rhythmic Hip Hop beat with a wicked skip pattern.

> Haal-E-Dil Male and Female - Underlying laidback rhythmic beat.

> Bewajah - Awesome guitar theme strumming, warm piano keys from 3:08 onwards and portion from 3:15 to 3:20 which is heartwarming and wins over / konnekts with listener due to inherent soul feel.

> Sanam Teri Kasam - underlying beats in both versions, passionate violin theme piece.

> Use of Arabian tunes and instruments - Arabian theme piece in Ek Number, Arabian tune in between 1st stanza gap in Main Teri Yaadon Mein, mysterious Arabian tune with quick twists in between 1st stanza gap, intense mysterious Arabic tune in between 2nd stanza gap in Haal-E-Dil female.

> Use of grand high pitched piano keys and guitar strumming.

Singers

The results of majority selection of veteran singers over rookies are reflected in the songs.

> Himesh - the Sufi Rwak singer is in full form in Ek Number.

> Arijit Singh has done apt justice to Tera Chehra and is effortless in Main Teri Yaadon Mein.

> Ankit Tiwari has done apt justice to Sanam Teri Kasam.

> Neeti Mohan has shown her versatlilty in Ek Number and ably sung Haal-E-Dil.

> Palak Mucchal's short but melodiously warm impactful vocals in Sanam Teri Kasam.

Also, Himesh kept his promise of giving oppurtunity to Darshan Ravan and Akasa Singh which he committed during the reality show.

Lyrics

Best lyrics are in Tera Chehra, Haal-E-Dil and Ek Number

> Tera Chehra - the lines whenever the tune of mukhda hook comes.

> Haal-E-Dil Mera Pucho Na Sanam - although simple pedestrian lyrics, but they konnekt.

> Ek Number - Trendy Gen Y lyrics in mukhda penned by Himesh himself.

Conclusion

Ever since this project was being filmed, the makers have been superlatively prasing the album on social media. Therefore, it is hoped that it really does well and works for their sake to repay their faith, especlally during the promotions due to relatively new starcast and also to get a good box office opening.

Haal-E-Dil Live Sreeram

To view the live performnce, type this in youtube:

Haal-E-Dil - Sanam Teri Kasam (2016) - Sreerama Chandra - LIVE Performance

The underlying scale of arrangements in live performance is better than OST male version.

Terrific keyboard scale in backdrop makes Sreeram's mukhda lines from 0:!3 to 0:21 quite catchy.

Sreeram's lines, MADHOSHI (terrific kashish) MEIN-EEIN (terrific profound twist) from 1:10 to 1:14, OH HO (terrific desperation plea alaap) from 1:21 to 1:22

Terrific scale in backdrop from 1:56 onwards behind Sreeram's stanza lines makes them quite catchy. The background scale and tune is ideally perfect and couldn't be any better than this. The OST male version should have had this continuous scale, especially in stanzas.

The likeable intermittent piano keys enhance the overall impact of Sreeram's lines.

Sreeram's line, AAP KE PYAAR KI (quite catchy feel vocals) from 2:37 to 2:40

Sreeram's lines, MADHOSHI MEIN-EIN, KHOYA-AAA, HAI-AAAI (off-da-hook quick profound emphasis twists, pours his heart out and nails it) from 2:40 to 2:48
Sreeram's line, YEH AALAM (awesome halke se fele twist, variation from the OST) from 2:49 to 2:51 & 3:15 to 3:15, along with terrific underlying scale from 3:14 to 3:16

Sreeram's line, HAL-E-DIL MERA from 3:19 to 3:22 strikes a chord.

Sreeram's line, PUCHO NA SANAM (awesome feel vocals) from 3:25 to 3:29

Conclusion

The underlying continuous scale is better than OST version, and it really makes the stanza lines catchy. Sreeram sang this live version even better than the OST version. He poured his heart out with his heartfelt singing and nailed it to the T. Marwa Hocane's teary eyes pic in backdrop also strikes a chord.

Sanam Teri Kasam Live

To view the live performnce, type this in youtube:

Sanam Teri Kasam (Title Song) LIVE Performance - Ankit Tiwari - Palak Muchhal

The mukhda hook lines SANAM TERI KASAM and other lines sung by Palak sound melodious. Perhaps Himesh could have included a Duet version 2 in the OST. When Palak asks Mawra Hocane to come forward and holds her hand to bring her on stage from 4:21 onwards, then cutie Mawra doesn't know what to do and innocently looks at Palak at 4:38, 4:44 & 4:54 as she sings. Ankit is having a hard time remembering and cramming the lyrics, as he unsetteledly looks towards the lyrics sheet for recall. He doesn't quite manage to sing in sur on some instances, but when he is in recording studio behind the mic he manages to get it right and this may require lots of practice, focus, dedication along with a few retakes for the ideal voice recording to be selected and passed. Before he used to use Autotune, even deliberately to enhance the vocals with artificial effects and intonations. But recently, he has also sung without use of Autotune e.g. in previous Himesh song Tu Milade from All Is Well and also Sanam Teri Kasam which has no traces or evidence of Autotune.