Music review analysis of Himesh Reshammiya's album Aabra Ka Daabra (2004).

Shiv Om

The starting pattern is similar to the starting pattern of KU BA KU (DIL MAANGE MORE) especially the sound effect at 0.08 and the loud female whispers of Aabra ka daabra (as compared to female whispers Dil mange more).

The underlying beats are free flowing with foot tapping rhythm.

The female croons of OM SHIV OM from 0.25 to 0.31, 0.50 to 0.55 are the tag line of the mukhda.

The tune from 0.31 to 0.33, 0.56 to 0.58 is awesome.

The finger snaps from 0.41 to 0.49 are good build up rhythm.

Shaan's line CHALADE-EEEE (higher note) at 1.04, 4.39 is great sur.

Shaan's lines from 1.05 to 1.14, 1.43 to 1.50 especially CHAIN (feel) DILADE, PREM KI is catchy

Shaan's lines in unplugged mode from 1.14 to 1.17, 1.51 to 1.54 are very catchy especially ROM ROM (feel)...yes, this is the kill effect in terms of overall melody effect in mukhda lines and the listener feels it.

The subsequent lines SHIV OM only show how well the song structure is in terms of thoughtful composition.

Between mukhda and 1st stanza, Jayesh croons in feel good bindass vocals followed by traditional gyan chants.

The raw drum beats from 2.27 to 2.30 were also used in THAARE VAASTE (SHAKA LAKA BOOM BOOM) from 1.07 to 1.08.

This is followed by traditional drums, classical raga tune (as if the listener is in baba's shrine) and chants. The feel good tune returns.

The stanzas are basically a repetition of the best melody of the mukhda lines.

In the end, the female chorus joins in along with elongated croons by Shaan.

Highlights of this song:

1. The foot tapping rhythmic beats, feel good theme piece tune and awesome tune.

2. Shaan's vocals, Jayesh's feel good croons and female croons.

3. Hear this song for typical unique HR melody in lines from 1.04 to 1.17, 1.43 to 1.54, 3.23 to 3.33, 4.39 to 4.51 that win over the listener.

This is a superb composition by Himesh and it has his typical unique melody in mukhda lines.

Chutkan Gang

The child inside Himesh comes out with song.

Kumar Sanu and kids have fun in Himesh's music room.

The highlight of the mukhda are the lines KAHAAA (prolonged twist) from 1.01 to 1.02 & 1.19 to 1.20.

Remember the similar twist in JUNOON JUNOON (ROCKY- THE REBEL) in the line SUKOON at 1.08, 1.47, 3.00, 4.25?

Between mukhda & 1st stanza, the tune is feel good and the beat effect from 1.44 to 1.46 is great.

1st stanza

The composition pattern is simple yet effective.

Once again special mention for the twist in word YAHAAAN from 2.21 & 2.22

2nd stanza

The composition pattern is simple yet effective.

Once again special mention for the twist in word REHNAAAH from 3.23 & 3.24

Between 2nd & 3rd stanza, Himesh lets the Kids express themselves.

3rd stanza

It is a verbal battle between both gangs and will make the listener smile.

Kumar Sanu takes the side of chutkan gang and sings the proper twist in the line KAHAAN at 4.57.

Highlights of this song:

1. The child inside Himesh springs out.

2. The JUNOON JUNOON type prolonged emphasis twist in the words KAHAAN, YAHAAN, REHNAAH.

Love Hoya

The theme tune pattern from 0.05 to 0.13 & 0.43 to 0.51 is likeable and it connects.

The female chorus joins in followed by Jayesh's feel good croons.

KK arrives from 1.11 onwards and the female chorus gives him great company.

The tune is feel good and likeable.

The tune pattern from 1.38 to 1.39, 1.42 to 1.43, 2.01 to 2.02 & 2.06 to 2.07 is great

Between mukhda & 1st stanza, the theme piece tune is back followed by feel good female croons.

1st stanza

The composition is simple yet effective from 2.35 to 2.53

Hema serdasai's lines from 2.54 to 3.03 give some feel good kick also due to the underlying beats.

Between 1st & 2nd stanza, the theme piece tune is back.

2nd stanza

The composition is simple yet effective from 3.55 to 4.13

Hema serdasai's lines from 4.14 to 4.22 give some feel good kick also due to the underlying beats.

Highlights of this song:

1. KK's and Hema's feel good vocals

2. The theme tune piece that connects with the listener and female chorus (also accompanying KK in mukhda lines LOVE HOYA).

This is a feel good melody.

Tara Ram Pam

The song starts of with sounds representing tricks of magician followed by bindaas Jayesh's vocals.

Kunal takes over and croons the catchy TARA RARA RUM PUM RE followed by kids chorus.

The tune from 0.53 to 0.56 is catchy followed by feel good magician type tune in between 0.57 and 1.07.

The tune sur at 0.52 & 1.26

Kunal's lines SAPNA APNA SAPNA HOGA PURA-AAAAAA( prolonged high note) have an emotional feel, and the same lines by kids's chorus are feel good.

The whistle effect from 1.44 to 1.52 is nice.

Jayesh's croons from 1.52 to 2.02 are feel good with emphasis on PUREEEE (twist).

Between mukhda & 1st stanza, the harmonica tune from 2.12 to 2.21 is just to mesmerizing and lovely. Waah, maza aa gaya! The sound from 2.22 to 2.31 along with the mouth organ gives some kick.

1st stanza

The kid's lines from 2.31 to 2.50 are feel good, with emphasis on word BHAROSA-AAA(one note down).

From 2.51 to 2.59, it is brilliant melody by Himesh - the composer (emphasis on DEEWAREIN and note the TERRIFIC 2 key up down tune sur at 2.54, genious melody). Waah, maza aa gaya! Special mention for the hope-filled lyrics as well.

The lines from 3.00 to 3.02 are feel good and old Himesh styled especially the twist in HUM.

The mouth organ from 3.06 to 3.07 and whistle piece from 3.22 to 3.26 enhances the feel-good nature of this song.

Between 1st & 2nd stanza, the lovely mesmerizing harmonica tune is back from 3.36 to 3.46 and the background beats also enhance the effect (dil khush hogaya!) followed by the sound from 3.46 to 3.54 that gives some kick. Jayesh joins the party to belt out some bindaas optimistic vocals again.

2nd stanza

The kid's lines from 4.05 to 4.23 are feel good, with emphasis on word BHAROSA-AAA(one note down).

From 4.24 to 4.33, it is brilliant melody by Himesh - the composer and wonderful vocals by Kunal that have emotional optimism. A special mention for the continuous tune sur behind these lines.

Kunal's lines YAAR at 4.34 is very feel good.

The mouth organ from 4.40 to 4.41 and whistle piece from 4.56 to 5.04 enhances the feel-good nature of this song.

Highlights of this song:

1. The lovely mesmerizing harmonica piece and the sike-giving sound that follows.

2. Kunal's emotional feel good vocal combination, jayesh's feel good vocals and kids' chorus.

3. The mouth organ and whistle piece that enhance the feel good nature of this song.

4. Awesome lyrics with emotional optimism and feel good factor also.

Kudos to Himesh for giving such melody even in unnoticeable low budget films and it is an ABSOLUTE PRIVILEDGE to hear such a wonderful melodious composition.


The song starts with rwaking beats followed by a bazz sound that gets the listener into the groove.

From 0.10 onwards, the alienish male and female vocals are followed by an Accordion theme piece from 0.19 to 0.44

The full beat kicks from 0.30 onwards and by the time the alienish sound followed by soothing female chorus kick in, the song is rwaking.

Anuradha Sriram sings with penetrating vocals and the soothing female chorus whispering DIDAVE VE creates a great overall effect.

The quick beat effect at 1.25 & 2.05 and the 2 raw drum hits at 1.38 & 2.07 that were similarly used from 1.41 to 1.42 & 2.00 to 2.01 in VAADA YEH TERA VAADA from NIGHEBAAN, at 2.50 in KYUN KI FEMALE SAD VERSION from KYUN KI, and at 2.34 in TERE LIYE from SHAADI SE PEHLE are off-da-hook and they provide sahi desired effect.

Anuratha's lines in semi-plugged mode from 1.29 to 1.38 are sung with seductive soothing feel.

Anuradha's lines from 2.06 to 2.25 along with the underlying beat are catchy.

Between mukhda & 1st stanza, the accordion theme piece is followed by awesome ARABIC beats and seductive female vocals.

1st stanza

Once again the Arabic tune from 2.55 to 2.57 & 3.03 to 3.05 are wonderful instrument selection to give sahi desired effect.

The lines from 3.05 to 3.15 along with seductive female vocals HAAA are catchy.

The phone line tone from 3.24 to 2.25 enhances the groovy feel.

The line DEEEEEE (desperation feel twist) at 3.34 is awesome.

Between 1st & 2nd stanza, more seductive female vocals crooning UUU AAA followed by accordion theme piece, alienish male vocals and soothing female chorus.

2nd stanza

Once again the Arabic beats from 4.17 to 4.19 & 4.24 to 4.27 are wonderful instrument selection to give sahi desired effect.

The lines from 4.27 to 4.37 along with seductive female vocals HAAA are catchy.

The female vocals give good company by crooning DIDA VE from 5.01 to 5.05 and also towards the end of the song.

The rising phone line tone from 4.46 to 4.47 & 5.14 to 5.15 enhances the groovy feel.

The song finishes with a statement in form of 3 hard beat hits.

Highlights of this song:

1. The rwaking start and build up to the song due to the groovy beats and bazz sound.

2. The alienish male and female vocals and soothing seductive female chorus.

3. The fast beats effect and 2 raw drum hit effect that build up the lines very well.

4. The accordion theme , groovy phone line tone & Arabian beats in stanzas to give sahi desired effect.

5. Anuradha Sriram's penetrating vocals along with a seductive undertone.

Sure mate, it didn't matter if it was a small or big banner. HR always took his musical assignments seriously!

Zindagi Zindagi

The song starts with piano piece and croons of Jayesh Gandhi followed by an emotional feel harmonica tune from 0.26 to 0.35

Sanu's lines, ZINDAGI ZINDAGI (TERRIFIC soothing feel) from 0.46 to 0.48 & SAAT PHERE (typical unique HR melody, profound middle octave strikes a chord) from 0.51 to 0.53, 0.58 to 1.00 & 1.06 to 1.08

From 1.14 to 1.16 & 2.00 to 2.01, ZINDAGI ZINDAGI (awesome additional soothing feel male vocals).

From 1.17 to 1.18, HAAAI (feel good emphasis).

Sanu's line, SAATH (TERRIFIC gradual profound twist gives halke se kick) from 1.26 to 1.27

The subtle female chorus behind Sanu's mukhda lines gives overall sooth effect.

Jayesh's desperation emphasis croons from 1.29 to 1.39

Alka's line, SAATH PHEERE (melodious feel along with soothing chorus) from 1.44 to 1.46, 1.51 to 1.53 & 2.04 to 2.06

From 2.05 to 2.07, YEAAAAAA (feel good male vocals).

Between mukhda & 1st stanza, trumpet tune is followed by soothing female chorus croon UUUUU & trademark rising keyboard flick. Jayesh gives it his all with emphasis on LAGE at 2.29 & ZINDAGI ZINDAGI from 2.35 to 2.37

1st stanza

Sanu sings with soothing feel vocals, with emphasis on DEEP JALATE RAHO, LUTATE RAHO.

From 2.58 to 2.59, ROSHNI ROSHNI (TERRIFIC accompanying soothing feel vocals giving terrific overall sooth effect) followed by soothing female chorus.

From 3.24 to 3.25, YEAAAAAA (feel good male vocals).

Between 1st & 2nd stanza, an intense tune plays followed by Jayesh's high pitched croons LAGE (desperation plea) at 3.42 & ZINDAGI (desperation emphasis) from 3.49 to 3.50

2nd stanza

Feel good melody from 3.51 to 4.10

Alka's lines, AASHIQUI AASHIQUI (awesome melodious feel) from 4.11 to 4.12

From 4.17 to 4.18, HAAAAN (TERRIFIC feel twist).

From 4.24 to 4.26, desperation plea male vocals.

From 4.33 to 4.45, the female chorus come to the party and make their presence felt with high pitched soothing melody.

Highlights of this song:

1. Kumar's profound middle octave vocals with soothing feel.

2. Alka's melodious feel vocals.

3. The lines SAATH PHEERE in both male and female vocals that form the core (& typical unique HR) melody of the mukhda.

4. Jayesh gandhi's high pitched croons and additional soothing feel male vocals.

5. Soothing female background chorus doing their UUUU.

The overall music arrangement is subtle laidback with emotional feel / plea courtesy due to vocals.

My Picks

1. Zindagi Zindagi & Tara Ram Pam (tie).

Zindagi Zindagi

The core melody of the mukhda comes in Alka's and Sanu's line SAATH PHEERE (typical unique HR melody), with emphasis from 1.29 to 1.32 where Sanu pours his heart out with his desperation plea vocals. Awesome additional male sooth feel vocals in lines ZINDAGI ZINDAGI from 1.16 to 1.18, ROSHNI ROSHNI from 3.01 to 3.02, Jayesh Gandhi belts out some soulful high pitched desperation plea croons from start to 0.24 & 1.32 to 1.42, Off-da-hook soothing female chorus come to da party and make their melodious presence felt from 3.06 to 3.08 in 1st stanza, and FULLTU HIGH PITCH from 4.37 to 4.49 in 2nd stanza that strikes a chord. Awesome halke se subtle male croons from 4.28 to 4.30, Alka pours her heart in line HAAAN (terrific desperation feel twist) 4.21 to 4.22, SAATHIYA (awesome desperation feel twist) from  4.31 to 4.32

Tara Ram Pam

The song has 'catchy' melody captures and portrays the mixed 'happy-go-lucky and emotional feel' journey of underprivileged masoom kids in a crisis/dilemma who have faith and belief in optimism and not to lose hope. The lovely synth harmonica (mouth organ) piece from 2.15 to 2.25 & 3.40 to 3.49 is a musical treat to da ears. The best lines in 1st stanza are SAPNO KE GHAR HONGE, UNCHI NEECHI DEEWAREIN ANDHAR BAHAAR HONGE SAB RANGEEN NAZARE (catchy innocent feel) from 2.54 to 3.03, Kunal Ganjawala's lines in 2nd stanza, EK NA EK DIN APNE DIN BADLENGE PYAARE BAAHON MEIN BHARLENGE JHILMIL CHAAND SITAARE (terrific sooth feel vocals that konnekt emotionally) from 4.27 to 4.37 just win over da listeners, with emphasis on the terrific tune from 4.35 to 4.37 behind lines JHILMIL CHAAND SIRAATE that strikes a chord in overall context. Jayesh's feel good reassuring vocals SAPNE HONGE POORE from 1.54 to 2.05 & 3.58 to 4.08 are catchy. The comical effects depicting a clown antics from 5.07 to 5.09 are lol...Himeshji, kya hai? [fun intended!]

2. Didave & Shiv Om (tie)

Shiv Om

This peppy vibrant song will spiritually lift up the listeners mood. The foot tapping beats kick in from 0.12 onwards. The core melody lies in Shaan's lines, CHALADE - EEEE (terrific voice rise) from 1.09 to 1.10 & 4.42 to 4.43, NAFRAT MITADE, PYAAR BADHADE, CHAIN (terrific feel) DILADE, GUM KOH BHULAADE...KHUSHIYON SE BHARDE ROM ROM (CATCHY melody with terrific UPLIFTING lyrics) from 1.10 to 1.21 & 4.43 to 4.54, SAPNE SAJADE, RAANG JAMADE, PREM KI (terrific feel) MEETHI GANGA BAHAADE...KHUSHIYON SE BHARDE ROM ROM (CATCHY melody with terrific UPLIFTING lyrics) from 1.47 to 1.58


This seductive feel song has foot tapping rhythmic beats with a THUMP effect. Anuratha Sriram goes fulltu in her mukdha lines. Off-da-hook quick beat effect at 1.29 & 2.09 that gives KICK is followed by semi plugged beats that cause the build up followed by OFF-DA-HOOK drum hits 1.40 to 1.41 & 2.12 to 2.13 that give sahi desired kill effect and joined in with full on rhythmic beats from 1.41 & 2.13 onwards after which the song becomes RWAKIN. Awesome Arabian instrument from 2.45 to 2.54, 2.58 to 3.01 & 4.22 to 4.24
Off-da-hook phone line tone from 1.53 to 2.05, 3.20 to 3.28, 4.42 to 4.51 & 5.05 to 5.20, Anuradha's lines in stanzas depict the herione's possessive love who can to anything for her lover, also courtesy due to the lyrics. Her line, (awesome desperation plea twist) from 3.37 to 3.39

3. Love Hoya

It is a peppy Punjabi flavored number, also courtesy due to its lyrics. The Alienish theme piece from 0.07 to 0.16, 0.45 to 0.54, 2.20 to 2.29 & 3.48 to 3.56 is off-da-hook catchy. Melodious soothing female chorus LOVE HOGAYA in between 1.16 & 1.31, 3.19 & 3.25, 4.39 & 4.44, catchy tune piece from 1.41 to 1.42 & 1.45 to 1.46, Hema Sardesai's peppy vocals DIL VICH MASTI from 2.57 to 3.06 in 1st stanza & DIL KI DUAE LEJA PYAR KE SAPNE LEJA from 4.17 to 4.26 in 2nd stanza along with rhythmic dholak beats gets the listener into upbeat lifting mood.

4. Chutkan Gang

Himesh calls kids in his music room and lets them have fun in this verbal child gang war, especially from 2nd stanza onwards. The stand out line is KYA KEHNA-NAAAAA (OFF-DA-HOOK profound emphasis twist) from 1.21 to 1.24 which is a trademark twist of Himesh - the Sufi Rwak singer in da post ABA era.

Aabra Ka Daabra - Instrumental

The vibrant live wire REMIX beats that kick in from 0.25 onwards are joined in by a catchy peppy tune piece from 0.25 to 0.40 & 1.46 to 2.01, The core melody comes from OFF-DA-HOOK catchy twisted Alienish computerized male vocals from 1.11 to 1.19 & 2.31 to 2.43 that strike a chord big time.