Music review analysis of Himesh Reshammiya's album Ahista Ahista (2006).

Ahista Ahista

This hard core Sufi Rwak song is a masterpiece and ripper of a gem from himesh reshammiya.

The starting is yet again subtle.

The subtle flute piece pattern from 0.07 to 0.15 is great build up.

The classical raga tune in between 0.17 to 0.20 is great.

Himesh goes INNER SOUL SEARCHING with his LOWER BAZZ OCTAVE vocals in lines PARCHAIYAAAAAA (terrific prolonged) - AAAA (HISTORY abrupt emphasis twist) from 0.24 to 0.28, TAN-HAAIYAAN (HISTORY lower bazz octave with underlying vocal depth / goonj) from 0.28 to 0.31, tumse hi HAI * 3 (ustad emphasis)

From the super lower octave to the extreme high pitch, himesh is a master of such variations and after that follows the high pitched note 'TUM'.

Himesh's line, HUE (intense ustad casual raw emphasis vocals that drive berserk) from 0.49 to 0.52

The raga tune pattern connects from 0.55 to 1.05, 1.16 to 1.27, 1.49 to 1.54 & 2.05 to 2.10

The underlying beat patten is unusual and innovative and it has a hardcore sufi rwak synthetic beat that gives HALKE SE KICK which was similarly used in underlying beat pattern of KOLA LAKA VELLARI from WELCOME.

OFF-DA-HOOK string based instrument (guitar strumming) accompanying the lines AHISTA * 3 (awesome prolonged twist) from 1.29 to 1.38 & 2.12 to 2.21 that builds up JAZBA was also used at start of AAP KI KASHISH from AASHIQ BANAYA AAPNE and 0.54 to 0.54 in TUM SAANSON MEIN from HUMKO DEEWANA KAR GAYE

Himesh's line, AAA (terrific casual vocals) - HISTA at 1.35 & 2.18

Himesh's line, TUM (off-da-hook fulltu high-pitched) from 1.39 to 1.40 & ROOOH KEEEE (off-da-hook fulltu high-pitched) from 1.55 to 1.57 is DIL KI PUKAR straight FROM DA HEART.

Between mukhda & 1st stanza, the subtle tune pattern is likeable.

1st stanza

The first stanza is just a 'build up' for the second stanza as in signaling in advance what to watch out for.

The subtle flute piece used behind Himesh's vocals is great especially after the line TANHAIYAAN from 3.03 to 3.06

The subtle tune piece along with Himesh's lines from 3.07 to 314 is awesome.

Between 1st & 2nd stanza, a cutting-edge instrument hits quickly many times between 3.38 & 3.40 along with off-da-hook catchy guitar riffs. This part is important in the song because it builds up JAZBA and also gives an indication of things to come in the 2nd stanza, because of the use of more unique heavy bazz instruments that just drive the listener beserk and make them believe the true genius of this man. A terrific penetrating intense raga tune plays from 3.40 to 3.56 followed by a cute sounding oriental flute piece from 3.57 to 4.06

2nd stanza

The second stanza gets into the business end of the song whereby Himesh just nails it with his vocal n instrumental KILL effect.

The raga tune that plays intermittenty is great.

Himesh's line, CHAAHATON KA (terrific desperation plea vocals) from 4.07 to 4.09

Himesh's line, KHWAHISHON KA (HISTORY vocal / instrumental KILL effect with OFF-DA-HOOK additional quick heavy instrument) from 4.14 to 4.15

Himesh's line, YEH JOH KAAFILA HAI (terrific passionate emphasis vocals) from 4.18 to 4.21

Himesh's line, TERI ANJUMAAN (strong middle octave impact vocals) from 4.22 to 4.24, The urdu lyric ANJUMANN was invented only for himesh to pronounce because nobody can say it better than him, and it also made an impact in his line DIL KI ANJUMANN (from 4.47 to 4.48)  MEIN HO TUM in TERA MERA MILNA from AKS - THE MOVIEE. 

Himesh's line, HAA-AAI (HISTORY sudden abrupt emphasis twist) from 4.24 to 4.25 was similar to Jayesh Gandhi's line NAHI - III (HISTORY sudden abrupt quick up twist) at 0.59 in TERE DIL KA from KOI AAP SA, along with a mesmerizing tune from 4.24 to 4.26

Himesh's line, HA HA (sarcastic laugh with additional heavy instrument that gives kick) from 4.29 to 4.30, It is a vocal effect that he uses after he knows that he has delivered a masterpiece, signaling everyone that Himesh is the best there is out there, similarly used in line HAAH at 4.09 in NAAM HAI TERA from AAP KA SUROOR.

Himesh's line, YAADON KI (awesome straight quick singing) from 4.31 to 4.32

The awesome groovy tune with quick twists from 4.41 to 4.42

Himesh's line, HAAI (soft & soothing) in between 4.44 to 4.51, along with likeable subtle repetitive tune pattern.

Himesh's line, MEEEEAAAAAA (awesome descending composition twist sung with profound middle octave impact) from 4.54 to 4.55

Himesh's line, HUE (HISTORY raw casual ustad singing, gives KICK) at 4.58

HISTORY gradually rising 5 key tune piece from 4.58 to 5.01 in overall context of Himesh's associated lines.

Highlights of this song:

1. Himesh's lines, TANHAIYAAN from 0.28 to 0.30 which has maximum LOWER OCTAVE IMPACT.

2. Himesh's line, AAAA (sudden abrupt low twist), HISTORY at 0.26, HAI (sudden abrupt up twist), HISTORY from 4.24 to 4.25

3. Himesh's STRONG MIDDLE OCTAVE IMPACT in lines, TERI ANJUMAAN at 4.22 & MEIN from 4.54 to 4.55

4. Himesh's casual raw ustad vocals HUE at 4.58 that give kick.

5. Underlying beat pattern that gives halke se kick, off-da-hook guitar riffs, awesome groovy flute, intense raga tune in between 2nd stanza gap and HISTORY gradually rising tune piece from 4.58 to 5.00

The fantastic thing about this song is the showcase of prolonged twists-n-turns with emphasis in his sufi rwak singing because it doesn't really get any more hard core Sufi Rwak than this.

This is HISTORY material and his BEST critically acclaimed work and it shows that only Himesh - the singer can sing such songs.

Ahista Ahista Unplugged

This unplugged version has "very strong connections/ties to the soul and is closely rooted to the soul, yeh "rooh se jura hua gaana hai".

Himesh's hard core Sufi Rwak compositions don't really get much better than this coz this is benchmark stuff.

In terms of instruments in this song: off-da-hook guitar riffs from 1.29 to 1.40 and so on, awesome groovy flute from 4.40 to 4.42 & history gradually rising tune (2 notes up) from 4.58 to 5.02.

This song would bring thehrav and sense of calmness, especially in terms of its overall ambient mood which will set in when heard at dusk/sunset.

Allah Kare

In terms of singing, this song is all about HR's prolonged twists-n-turns and slogan echoes.

The background classical sound in unplugged is as if the listener is in Baba Ramdev's aasharam. Aao, kapal bharti karte hai!

Himesh's lines JAB TAK, KHUDAYI RAHE, TERE DIL PE, MERA NAAM, ALLAH (with echo effect) are slogans.

The prolonged low twist in line RAHE.

The prolonged quick down twist in line KARE-EEEEE was inspired in line RADIO-OOOO (quick down twist) in ZINDAGI JAISE EK RADIO from RADIO..

The 3rd ALLAH KARE is the BEST of the lot.

The underlying beats have a rich and great quick pattern of tabla beats.

The lines ALLAH KARE from 0.56 to 0.59 make an emotional plea impact.

The raga tune gives good tune sur in between.

The prolonged unplugged twist line RAHE along with tabla beats in SYNC from 1.10 to 1.13 have a profound combined impact.

The real KICK comes in at the arrival of bazz metal rock guitar that plays intermittently to get the adrenaline flowing.

Between mukhda and 1st stanza, raga tune conveys an emotional feel.

1st stanza

The tune pattern is uncomplicated and effective, very suited to Himesh's sufi-rock singing style.

From 2.11 to 2.25, the repeat pattern in the tune is idolized from the repeat pattern tune in ABA stanzas.

Himesh's lines, RAAT DIN, TERE BIN, JIYA HAI, DIYA HAI with echo effect are slogan type.

The raga tune from 2.25 to 2.27 is TERRIFIC in terms of emotional factor.

Emphasis on Himesh's line, KH-udayi at 2.36

The continuous metal rock guitar from 2.43 to 2.46 is rwaking (especially the end part) and it is terrific in overall context.

Between 1st & 2nd stanza, more raga tune plays.

2nd stanza

The lyrics shift to the love story side of things.

From 3.09 to 3.24, the repeat pattern in the tune is idolized from the repeat pattern tune in ABA stanzas.

The raga tune from 3.24 to 3.25 is TERRIFIC in terms of emotional factor.

Himesh lines, HAAQ (uber rwakin nazal twang), RAUNAK with echo effect are slogan type at their MAX.

Emphasis on Himesh's line KH-udayi at 3.34

The continuous metal rock guitar from 3.41 to 3.45 is rwaking (especially the end part) and it is terrific in overall context.

Emphasis on the line, RAHEEEEEEE (prolonged) AAAAAA (dying effect) from 4.02 to 4.03

The echo effect in lines, TERE DIL from 4.04 to 4.06 and TERE DILLLLLLLLLL (total plea) PE from 4.07 to 4.09

Highlights of this song:

1. Himesh's 3rd ALLAH KARE that has max emotional plea.

2. Himesh's power-packed vocals delivered with a swolid punch that is a one-man show and that have the two key Sufi Rwak singing elements namely prolonged twists and slogan effect.

3. The fast paced tabla beat pattern, raga tune for emotional factor, and the rwaking heavy metal rock guitar to give kick to the listener.

Himesh has NEVER forgotten Mr.Tabla who is a household resident and proud rashan card holder of India, even in his extreme Sufi Rwak compositions.

The singing is hard-core Sufi rock but imagine this song without underlying tabla beats and added ones for the 'sahi desired effect'.

This is where Himesh is so distinct from other lot of other composers.

Secondly, it shows that Himesh's foundations as a composer are rock solid as his tunes are all simpler melodious versions (and some times semi-classical) of the uljhi vi complicated raga tunes (rehearsed by Ustad's).

Love U Unconditionally

Himesh moulds his singing style yet again for a typical high-pitch croon.

It is a vocal experiment.

Himesh's starting line SONIYE-EEEE (awesome desperation plea with dying effect) from 0.05 to 0.06 & 0.13 to 0.14 has his trademark sufi rwak dying effect.

The underlying beat is innovative and has a rhythmic pattern.

The line at 0.41, 0.54 & 4.29 MERE MERE is sung with soothing effect.

Between mukhda & 1st stanza, a passionate violin tune plays.

1st stanza

Emphasis on Himesh's line WOH KAHUNGA.

The subtle trumpet from 2.33 to 2.36 gives good sur.

Between 1st & 2nd stanza, this is the BEST part of the song. The beat becomes semi-plugged (1 bit) along with haunting male vocals followed by underlying bazz sound that acts as a build up. From 3.08 to 3.33, Himesh pours his heart out and fully expresses the emotions from hero's viewpoint with his prolonged passionate feel croons, with emphasis on YEEEAAAA (off-da-hook desperation plea) from 3.08 to 3.09 & 3.25 to 3.26, UUUUUUU (terrific feel twist) from 3.11 to 3.13 & 3.29 to 3.31. A likeable string-based tune plays from 3.16 to 3.25

2nd stanza

At 4.11, AUR HE (good emphasis).

The subtle trumpet from 4.11 to 4.14 gives good sur.

Himesh's line, JAAIYAAAEEEEE (prolonged feel good twist) from 5.00 to 5.03

Highlights of this song:

1. The underlying rhythmic beats.

2. In between 1st & 2nd stanza is the best part of the song.

3. The subtle trumpet in both stanzas and intermittent passionate violin pieces.

Ishq Ne Tere

Ustad himesh reshammiya is once again at the helm of affairs with this semi-classical song.

The song begins by soothing male croons until 0.28

The sur tune from 0.39 to 0.40

From 0.55 onwards, BECHAIN SHAM HO SEHAR * 2 form one of the core melody of the mukhda, showing traces of the old himesh reshammiya.

From 1.01, bas tujhe, yaad karta hoon (fast paced tabla beats accompany) MEIIN (zabardaast classical twist HIGHLIGHT of song) which was similarly used in line MILOOO (TERRIFIC twist) from 0.31 to 0.32 & 0.43 to 0.44 in BHOOL JAYENGE HUM from KUCH MEETHA HO JAAYE, raat bhar (tabla beats get heavier).

From 1.06, bas tujhe yaad kar (sudden high note) ta hoon mein.

Between mukhda and 1st stanza, string based raaga instrument followed by classical jayesh gandhi croons.

1st stanza

It is feel good.

At lines 2.43, tune koi (low note) jaadu hai ki (classical twist) yaaaa, good melody.

From 3.04 to 3.10, khoya hoon tere pyar mei (twist) neeeee (high).

Between 1st and 2nd stanza, a pleasant piano tune plays.

2nd stanza

At 4.08, chahe ga na koi (classical twist, low note) istarah (high pick up).

At 4.46, ishq ne tere ishq ne (2 tabla beats to give good effect).

Highlights of this song:


2. The underlying set of tabla beats that set behind the lines bas tujhe YAAD KARTA HOON MEIN (1st set - lighter tabla beats) RAAT BHAR (2nd set - heavier).

Tanha Tere Bagair

The song starts with a likeable oriental harmonica piece, with emphasis on the echo fluctuation effect from 0.17 to 0.29 that gives a strong impression that the song is picturised in an outdoor pahadi ilaka.

KK's unplugged line, LAGAIYAAAAAA (prolonged) AAA (awesome abrupt up emphasis twist with echo effect) from 0.09 to 0.11

KK's lines from 0.30 to 0.46 build up the song well.

Himesh reshammiya hits it real good / hard with the raw heavy beats that kick in from 0.47 onwards.

The underlying bazz sound joins in from 0.51 onwards.

The pleasant oriental flute theme piece plays from 0.56 to 1.12

The beat effect from 1.32 to 1.34 gives sahi desired effect.

Sunithi makes a big time impact with her heavy alto vocals from 1.52 to 1.58

Between mukhda & 1st stanza, a catchy groovy tune piece plays whereby the listener can imagine the heroine's chunni flying over the hero's face in a mountainous region.

1st stanza

The 3 quick hits at 2.26 gives great kick start to KK's vocals.

The key in stanza is the accompanying bazz trumpet in between 2.31 & 3.08 that gives sahi desired effect and also some sike.

Sunithi compliments KK well from 2.42 to 2.45 & 3.10 to 3.14

Between 1st & 2nd stanza, a computerized wicked dodgy voice is accompanied by a sound representative of dandiya played by knitting sticks followed by oriental flute theme piece.

2nd stanza

Sunithi takes this song to a whole new level with her whole hearted heavy alto vocals.

The 3 quick hits at 3.48 gives great kick start to Sunithi's vocals.

The key in stanza is the accompanying bazz trumpet in between 3.53 & 4.31 that gives sahi desired effect and also some sike.

KK compliments Sunithi well from 4.04 to 4.08 & 4.32 to 4.35

Sunithi's lines, BATAAAA (awesome voice deepening) from 3.47 to 3.48, PATAAAA (awesome voice deepening) from 3.49 to 3.50, MILAAAA (awesome voice deepening) from 4.09 to 4.10, GILAAAA (awesome voice deepening) from 4.11 to 4.12

The song finishes with the oriental flute theme piece.

Highlights of this song:

1. The raw heavy beat pattern that hits it real hard / good is the USP because the listener feels da beat and waits for the next hard beat hit throughout the song.

2. The starting oriental harmonica piece with echo effect, the oriental flute theme piece and intermittent quick beat effects.

3. The groovy tune piece in between 1st stanza gap and the computerized wicked dodgy male vocals along with knitting sticks sound effect in between 2nd stanza gap.

4. The bazz trumpet is the key in stanzas as it gives the sahi desired effect.

5. Sunithi's wholehearted heavy alto vocals that impress and overshadow KK's vocals but he too does a decent accompanying job.

In terms of composition pattern, this tune is very uncharacteristic of Himesh – the composer without his typical trademark stamp.

But it heavily replies upon and scores big with the fascinating mix in terms of music arrangement which makes this free flowing song a never before heard unique attempt by Himesh, which is a totally new refreshing change!

Aawan Aakhiyaan

Ustad himesh reshammiya is at the helm of affairs.

He may have mastered the genre of sufi-rock post ABA but raga instruments and mr.tabla were always part of his musical attire and both these are very Indian classical instruments that create a terrific combination with the western sufi-rock heavy techno instruments e.g. ahista ahista, kola laka vellari.

Each singer roped in pours their heart out for this song and HR chooses the appropriate voices for this qawali number.

Emphasis on the lines...DUNIYAAAN KA from 1.10 to 1.12, KANGAAAAAA from 0.28 to 0.30

From 1.05 onwards, the fast tabla beats are followed by raga tune and underlying beat (with rich dose of tabla). 

Jayesh Gandhi's line, SAAAAAA (classical twist) WAN from 1.57 to 1.59

Jayesh Gandhi pours his heart out in his line, JAAWAN AAKHIYAAAAAAN (OFF-DA-HOOK prolonged intense emphasis twist) from 2.15 to 2.17

1st stanza

It is evident with nazal twang that is actually quite effective in the song setting.

Himesh's lines, JAB SE PIYA KE SAATH LAGI HAI, SAARI SAARI RAAT JAGI HAI (ubber rwakin nazal twang) from 2.37 to 2.48

Himesh's, DHOONDEIN (powerful emphasis vocals) at 3.05

Himesh's line, DHOOOOO (HISTORY intense passionate ustad emphasis vocals deliver the VOCAL KILL effect) GAN from 3.27 to 3.28 in unplugged mode.

2nd stanza

Himesh twists the pronounciation in words NIKH'W'LI & PIG'W'LI

Jayesh gives it his all in line, PIGHLI-EEEEE (OFF-DA-HOOK fulltu high pitched) from 4.33 to 4.35

Himesh's line, ROOO (terrific classical desperation plea twist) from 4.49 to 4.48 in unplugged mode.

In the ending the RE GA PA DA (emphasis on 5.35 & 5.38) along with high alaaps are of great cause.

The classical twist on line TEREEEEEE at 5.40

Highlights of this song:

1. All the male singers who are very well suited and sing wholeheartedly with feel, passion and emotion.

2. The underlying beat with a rich dose of tabla and raga tune that gives this song its true identity.

3. The classical twists and added emphasis on capital words wherever mentioned.

Tum Jho Mile

The RAAGA tune from 0.54 onwards is awesome and highlight of the song, it is terrific from 1.06 to 1.07

At 1.35, kunal sings kho gaYAAA (abrupt slogan).

At 1.36, 6 additional beats followed by 3 quick beats hit.

The lines, tum jho mile part is subtle, but from 1.38 onwards, kunal fully expresses himeself with AAAhistaAAAAAA (twist) aahista AAHISTAAAAAAAAA(twist) ahista that are sung with INTENSE FEEL vocals.

At 2.23, kunal takes the AAAAAAAAAA (down notes) followed by 3 quick additional beats followed by voice deepening ahista ahista lines.

Between mukhda and 1st stanza, very simple yet effective tune piece plays.

1st stanza

It is sung with subtle vocals, FAASLE, DOORIYAN, NAZDIYIKAN.

Between 1st and 2nd stanza, a lovely piano piece plays folowed by the glass-type TAK TAK instrument at 4.22, 4.24, 4.25, 4.29 & 4.38 followed by the raaga tune from 4.39 to 4.48 which is highlight of this song.

2nd stanza

It is subtle yet again.

From 5.11, the lines get out of whack with the underlying beat with a great result and merge back at 5.29

At 5.34, khogaya HE HE HE along with additional beats (good feel).

From 5.57, a heavy metal bazz guitar hits to enhance the effect.

Highlights of this song

1. The raaga tune at beginning and in between 1st and 2nd stanza.

2. The 6 additional beats followed by 3 quick additional beats before ahista ahista lines, the heavy metal guitar in the end.

3. The ahista ahista sung with wholehearted vocals to express total feelings.

Allah Kare - Unplugged

The key effect is given by the metal guitar behind the mukhda lines RAHEEEEEEE (prolonged twist) from 1.36 to 1.39, 2.43 to 2.46 and 3.41 to 3.44 and ALLAH KARE between 1.14 and 1.27, 1.41 and 1.53, 2.47 and 3.00, 3.46 and 3.58

This is due to the fact that the metal guitar is the only heavy instrument used that gives a bit of a kick in otherwise overall subtle music arrangement.


It was said that Himesh initially offered tunes from his existing song bank as he was due in line for a world tour at that time, but the tunes didn't quite fit in the backdrop setting of the project so the director insisted on having a fresh set of tunes to which Himesh oblidged.

This means that Himesh composed songs of this album in no more than 2-3 weeks before he was scheduled to leave abroad all over, but ironically the law of averages did not catch up with him whereby all songs were at benchmark level.

This depicts only one thing that Himesh is on top on his game when he does BULK / QUANTITY stuff and PRESSURE gets da best out of him.

In this department, he is quite / extreme opposite to working styles of Aamir Khan & AR Rehman.

My Picks

From Himesh's "sung n composed" songs:

1. Ahista Ahista

Himesh goes inner soul-searching with his lower bazz octave vovals, with emphasis on line, HUE (intense ustad emphasis vocals that drive berserk) from 0.49 to 0.52. The underlying beat pattern gives halke se kick. First stanza is build up for the second stanza. Himesh's line, CHAHATON KA (terrific desperation feel) from 4.07 to 4.08. OFF-DA-HOOK underlying HEAVY instrument hits 3 times real quick from 4.41 to 4.16 behind himesh's line KHWAHISHON KA. Himesh's line, YEH JHO (terrific feel emphasis) KAAFILA from 4.18 to 4.20, HAI-AAI (HISTORY higher note abrupt leave) from 4.24 to 4.25. The majestic groovy flute with quick twists from 4.41 to 4.42. Himesh's line, HUE (HISTORY raw casual ustad singing, gives KICK) at 4.58 followed by HISTORY gradually rising instrument tune from 4.58 to 5.00 in overall context of Himesh's associated lines.

A notable singing trait of Himesh - the Sufi Rwak singer that can be noted in this song is his USTAD EMPHASIS vocals in lines HAAI-AAAAI from 0.33 to 0.43, SHAREEK HUE-EEEE from 0.48 to 0.51, 1.43 to 1.46 & 4.56 to 4.59, KAREEB HUE from 1.10 to 1.12 & 1.58 to 2.01, Ustad in the sense that he sings it with a CASUAL RAWNESS due to which his voice CRACKS UP which results in KASHISH in his vocals. Apart from being a ace Sufi Rwak composer, it is this ustad emphasis singing style that makes him da BAAP of Sufi Rwak singers and compliments his Sufi Rwak compositions. Ustad, also in the sense that, such sufi rwak nuances were pioneered by da legendary USTAD Nusrat Fateh Ali Khan which were reflected in his singing style and today's modern new-age Sufi Rwak singers like Himesh have carried this trend forward and kept his legacy alive.

If this song had a FEMALE version in Alka Yagnik's high pitched voice, it could be HISTORIC and it could have created pricking melodious sensations in those sudden abrupt prolonged twists n turns. Yes, it could be one heck of a challenge to sing such a difficult composition that is out side da conventional norms of her singing style, but she is a veteran and would have done full justice to it. One of the saddest / unfortunate things in post ABA era is da absence of Alka's vocals in Himesh's music, as she was da default preferred choice in pre ABA era. So in da future, it would be a delight to hear duet songs that feature her and Himesh, like the killer track DIL TUMHARE BINA from 36 CHINA TOWN.

2. Allah Kare & Aawan Aakhiyaan Jaawan Aakhiyaan (tie).

Aawan Aakhiyaan Jaawan Aakhiyaan

Jayesh Gandhi pours his heart out in his line JAAWAN AAKHIYAAAAAAN (OFF-DA-HOOK prolonged intense emphasis twist) from 2.15 to 2.17, Jayesh Gandhi's line PIGHLI-EEEEE (OFF-DA-HOOK fulltu high pitched) from 4.33 to 4.35, Himesh's lines in 1st stanza, JAB SE PIYA KE SAATH LAGI HAI, SAARI SAARI RAAT JAGI HAI (ubber rwakin nazal twang) from 2.37 to 2.48, Himesh's line, DHOOGAN (HISTORY intense passionate ustad emphasis vocals deliver the VOCAL KILL effect) from 3.27 to 3.28 in unplugged mode, ROOO (terrific classical desperation plea twist) from 4.49 to 4.48

In post ABA era, Himesh's major forte has been Sufi Rwak, whereby Rwak is the heavy rhythmic beats and instruments. However, AAWAN AAKHIYAAN is a rare Qawali in this era, whereby the instruments become more softer and traditional authentic sufiana, along with additional male vocals whereby the listener can visualize a setting 'jahan par mehfil sajti hai'. AR Rehman is maestro in these kind of Quawali numbers i.e. his couple of songs in Jodha Akbhar with gentle softer orchestration. But when it comes to Sufi Rwak then Himesh is da undisputed king in this genre.

3. Love U Unconditionally

Underlying beat is rhythmic. Himesh sings with passionate vocals. His line, MERE MERE (sooth feel) from 0.54 to 0.56. BEST PART in song is in between 2ND STANZA GAP with quick semi-plugged beat along with mysterious male haunt vocals from 3.03 to 3.07 followed by Himesh's prolonged soulful killer desperation plea alaap YEEE-EEEE-AAA-UUU-NNNN in between 2nd stanza gap from 3.08 to 3.33 whereby he LITERALLY POURS HIS HEART OUT and which just bowls n wins over the listener, along with cute feel good string based plucks from 3.16 onwards. 

From Himesh's "composed only" songs:

1. Ishq Ne Tere (one of best semi classical 'composed only' songs in post ABA era) & Tanha Tere Bagair (refreshing 'Indo West' number with mast kickass beats) - tie.

Ishq Ne Tere

BEST PART of song is KK's lines, BECHAIN SHAM-O-SEHER (typical unique HR melody) from 0.55 to 1.00 & 1.27 to 1.32, BAS TUJHE YAAD KAR (TERRIFIC classical twist) TA HU ME (TERRIFIC classical twist) EEEIN RAAT BHAR along with lighter set of fast-paced tabla beats from 1.03 to 1.05 & 1.35 to 1.37 followed by profound heavier set of profound tabla beats from 1.06 to 1.07 & 1.38 to 1.39, followed by KK's line YAAD KAR (fulltu high-pitched) TAA from 1.09 to 1.10 & 1.41 to 1.42

Tanha Tere Bagair

Awesome flute with echo effect from start to 0.30 that gives a feel of mountainous terrain. Himesh just HITS IT with HARD rhythmic foot tapping beat pattern from 0.47 onwards and the underlying fluctuating bazz sound kicks in from 0.51 onwards. Terrific groovy oriental flute piece in between 1st stanza gap from 2.07 to 2.24 that gets da listener into da zone. In between 2nd stanza gap, wicked haunt feel vocals along with a sound representative as if someone is playing dandiya with knitting sticks from 3.21 to 3.38, Bazz trumpet comes to da party from in both stanzas from 2.31 to 3.09 & 3.53 to 4.31 to give accompanying tune sur to KK's n Sunithi's vocals. 2nd stanza is better than 1st stanza as Sunithi's penetrating deepening emphasis vocals give more melody impact. This song has new-age HR melody (with hardly any typical unique HR melody) in the sense it it a new attempt both in terms of composition tune and laying out the orchestration.

2. Tum Joh Mile

The underlying beat has a vibrant retro live-wire feel to it. Kunal goes all out in core mukhda tag lines AHISTAAAAA AHISTAAAAA (prolonged intense emphasis vocals). BEST instrumental piece of song is the emotional feel catchy raga theme piece from 0.55 to 1.13 & 4.39 to 4.48 

Off-da-hook intense high pitched emphasis vocals by Kunal Ganjawala on the repetitive mukhda lines AHISTA AHISTA...depicting the craving of a desperate lover, jiski dil se nikli hui 'aah' hai.

In comparison with his same part in 1st stanza, Kunal's vocals in 2nd stanza go out of sync from the underlying beat from 5.12 onwards, but are back in sync at 5.30, this was done deliberately by Himesh and it requires great understanding and practice both by the composer and singer to pull it off, or else the song would easily get scattered from that point onwards. This is because the sync effect of vocals and beat works like a pattern of counts in the 'sub conscious' mind and so the vocals remain synced with any given beat effects, but when such an out-of-sync happens mid way from 5.12 onwards, then there is a 'skip and delay' of count in the mind, and to get back in sync despite that skip and delay requires perfect timing, and is not less that any trick or skill, coz the singer gets back hold of the count at 5.30