Alka Yagnik was a house hold name and the preferred numero uno female singer choice in pre ABA songs and she was also one of the 3 Key pre - ABA elements (along with Jayesh Gandhi's high-pitched soulful croons and soothing female background chorus UUUUUUU).

The USP of Alka's vocals in Himesh's music was that they used to cause a MELODIOUS PINCH / PRICKING SENSATION (CHUBBAN KA EHSAAS) on Himesh's STEEP high-pitched compositional notes. Alka's vocals on Himesh's HIGH PITCHED notes give striking melody impact i.e.

> Her line, BECHAN KARNE LAGA HAI YE (sudden abrupt highest note, HISTORY melodious emphasis pinch) EIIIIIIIII from 2.48 to 2.49, DEEWANA PANNNNNNNN (HISTORY prolonged emphasis melodious pinch) from 2.50 to 2.51 in YEH DIL TOH MILA HAI from DIL NE JISE APNA KAHA.

> Her line, HAAAAIIIIIIIII (HISTORY prolonged super high pitched melody) from 0.26 to 0.29, 2.26 to 2.28 & 6.09 to 6.17 in SEENE ME DIL FEMALE VERSION from KOI AAP SA.

Some of her outstanding pre ABA female versions:

> Tere Naam female version from TERE NAAM.

> Tune Zindagi Mein Aake female version from HUMRAAZ.

> Seene Mein Dil female version from KOI AAP SA.

> Kyon Ki female version from KYON KI! ITS FATE.

Her melodious vocals in the following lines depict this fact:

> From 2.25 to 2.51, with emphasis on line YEEEE (HISTORY sudden abrupt high-pitched vocals) from 2.48 to 2.49 & DEEWANA PAN-NNNNN (HISTORY melodious emphasis pinch vocals) from 2.50 to 2.51 in YEH DIL TOH MILA HAI from YEH DIL TOH MILA HAI from DIL NE JISE APNA KAHA.

> From 3.19 to 3.44 in CHURA LO VERSION 1 from TAARZAN - THE WONDER CAR.

> From 3.19 to 3.44 in CHURA LO VERSION 2 from TAARZAN - THE WONDER CAR.

> From 3.50 to 3.51 in O MAKHNA VE from TAARZAN - THE WONDER CAR.

> From 4.11 to 4.29 in OOH LA LA RE from TAARZAN - THE WONDER CAR.

> From 1.55 to 2.06 & 4.08 to 4.20 in DIL SE JUDA EHSAAS from TAARZAN - THE WONDER CAR.

> From 2.05 to 2.14, 3.29 to 3.38 & 3.48 to 4.04 in BAN JAAIYE from SILSILAY.

> From 1.42 to 2.04 & 4.40 to 5.22 in JAANA NAHI THA from BLACKMAIL.

> From 4.13 to 5.37 in SILSILAY MULAQATON KE from BARDAASHT.

> From 2.33 to 2.35 & 3.00 to 3.03 in AAP KI KHATA from BARDAASHT.

> From 4.42 to 6.05 in TUNE MUJHKO from YAKEEN.

> From 4.12 to 4.19 & 4.28 to 5.42 in O JAANE JIGAR from YEH HAI JALWA.

> From 3.49 to 4.30 in DHEERE DHEERE AANA from YEH HAI JALWA.

> From 0.10 to 0.18, 4.32 to 4.33 & 5.03 to 5.11 in JAANAM TERE LIYE from KURUKSHETRA.

> From 2.24 to 2.25 in SEENE MEIN DIL from KOI AAP SA.

> From 1.31 to 1.33, 1.36 to 1.39 & 2.14 to 2.40 in TERE NAAM TITLE TRAX.

> From 3.22 to 3.52 in OODHNI from TERE NAAM.

> From 2.33 to 2.54 & 4.14 to 4.35 in SARKE CHUNARIYA RE from RUN.

> From 3.42 to 4.12 in DIL ME JO BAAT from RUN.

> From 1.33 to 1.45 & 2.01 to 2.13 in AE DIL YEH BATA from JULIE.

> From 4.02 to 5.00 in MERI NAS NAS MEIN from DIL NE JISE APNA KAHA.

Truly a MAGICAL combo!

However, the pity and sad part is that Alka's vocals have diminished in post ABA sound, whereby the notable KILLER song is DIL TUMHARE BINA from 36 CHINA TOWN where they RWAKED it together. Here's hoping that Himesh will bring back the compositional style trend of pre ABA era and Alka Yagnik will feature regularly in this sound to re-create history all over again, with some serious class appeal in it.

3 songs that Alka should have sung in duet with Himesh are:

> Ahista Ahista Title Trax

> Afreen Tera Chehra

> Hookah Bar

The reason for this is that these 3 songs have higher notes e.g. the mukhda line AHISTA AHISTA n stanza, the mukhda line AF-REEEN n repetitive mukhda hook TERA PYAAR PYAAR HOOKAH BAR. So why she should have sung these 3 songs is because Alka has a thin voice n at high pitch it becomes sharp to create a melody pinch i.e. in YEH DIL TOH MILA HAI from DIL NE JISE APNA KAHA, Alka's line, YEE-EEEE (HISTORY striking high pitch melody) from 2.47 to 2.48, DEEWANA-PANNNNNN (HISTORY melodious pinch) from 2.50 to 2.52 in 1st stanza.

The biggest thing that is missing in Himesh's post ABA sound is Alka Yagnik's vocals who was always Himeshs first preferred default choice for pre ABA melodies...but alas, god knows what happened in post ABA where this musical disaster struck...aakhir iske peeche ka raaz kya hai, whats da mystery...is it because Alks's voice is now outdated...how come, when traditional Indian semi classical songs like Lagan Lagi n Ishq Mein Ruswaa from Dangerous Ishhq can be accepted in today's date, then why not her vocals. Anywayz, really looking forward to Himesh-Alka Yagnik duets in future, ab aur bardaasht nahi hota.