Music review analysis of Himesh Reshammiya's album Kahin Pyaar Na Jo Jaaye (2000).

Kahin Pyar Na Ho Jaaye

The song begins with Alka's melodious vocals in unplugged mode.

The funky guitar from 0.30 onwards that is joined in by an underlying hard hit pattern from 0.38 to 0.45 builds up the song.

The female haunt feel chorus along with a grand trumpet piece from 0.45 to 0.48 followed by jingle tune from 0.51 to 0.58 followed by mesmerizing bansuri piece from 0.58 to 1.04 is great build up.

The peppy finger snaps from 1.06 to 1.11 along with Alka's vocals.

Off-da-hook tabla hit pattern from 1.11 to 1.13

The tabla beats from 1.11 onwards and their use in the main underlying beats gives the overall desired effect.

The female chorus behind Alka's lines from 1.21 to 1.33 enhances the overall melodious effect.

The old fashioned drum beats at 1.34

Sanu sings with subtle feel vocals with emphasis on his line BEKAR(feel twist)AAAR at 1.40

Between mukhda and 1st stanza, feel good female vocals croon along with guitar piece. The guitar tune from 2.20 to 2.27 in unplugged mode is catchy and sets up the stanza.

1st stanza

Alka's lines from 2.27 to 2.42 are sung with feel good vocals.

Alka's lines from 2.42 to 2.49 in semi-unplugged mode have feel factor, especially OH HO.

The feel good female chorus from 2.54 to 3.06 enhances the overall effect.

Between 1st and 2nd stanza, the flute plays with quick drum beats followed by likeable synthetic piano piece.

2nd stanza

Sanu's lines from 3.51 to 4.05 are sung with feel good vocals.

Sanu's lines from 4.06 to 4.13 in semi-unplugged mode have feel factor, especially OH HO.

The female chorus from 4.53 onwards finishes off the song.

Highlights of this song:

1. Alka's melodious vocals, Sanu's subtle feel vocals and female chorus.

2. The underlying beats (the tabla beat pattern is the key), old styled quick drum hits, guitar piece, the synthetic piano piece pattern and mesmerizing flute piece.


The peppy beats gets the listener foot tapping.

The wicked funky guitar piece from 0.18 onwards along with theme tune piece with female whispers SAVARIYA sets the underdone of this song.

Kamaal khan sings with feel good vocals along with BAZZ sound from 0.40 to 1.04.

Kamaal's line OOOOOOOO from 1.12 to 1.15, waah kya sur pakra hai!

The lines TU (high note) CHEEZ YAARA (typical HR melody) KAMAAL-AAL(down)-AAL(down)-AAL(down)-AAL(down) is great composition pattern by HR.

The added beats from 1.19 to 1.21 give great overall effect to these lines.

The core mukhda lines saawariya re oh saawariya leh gayi dil oh saawariya are catchy and the tune sur from 1.28 to 1.29, 2.02 to 2.03 is great.

Alka's lines are melodious from 1.39 to 2.02

Between mukhda and 1st stanza, the funky guitar plays.

1st stanza

The composition is good and female whispers SAAWARIYA.

Alka's lines DIL KE TAAR, the lyrics are great.

Between 1st and 2nd stanza, more bindaas feel good male and female vocals followed by funky guitar.

2nd stanza

The composition is good and female whispers SAAWARIYA.

The quick classical twists in ALKA's lines DHADKAN (4.11), SAANSON (4.13), NEENDON (4.15).

Kamaal vocals are subtle and feel good.

The female vocals and Kamaal's vocals finish off the song with a nice feel good effect.

Highlights of this song:

1. The theme tune piece along with female whispers SAAWARIYA.

2. The bazz sound, additional beats behind the prolonged mukhda line KAMAAL and the tune sur behind the word SAWARIYA.

3. Kamaal's subtle vocals, female chorus feel good vocals, and Alka's melodious (with twists in 2nd stanza) vocals.

4. The line OOOOOOOO TU CHEEZ YAARA KAMAAL in both male and female vocals is best melody in the song.


The song starts with a flute piece in unplugged mode.

From 0.24 to 0.32, the guitar is great.

From 0.33 to 0.37, Sonu's HE HE part is very melodious.

From 1.12, alka vocals are melodious with emphasis on TAAR, BEKARAAR.

From 1.25 to 1.30, tu bhi jawan mein bhi jawan is typical old style HR melody.

Between mukhda and 1st stanza, the female chorus HE HE (feel) is great.

1st stanza

Alka's la la la la la from 2.11 to 2.15

From 2.20 to 2.32, mujh ko yeh kehna nahi aakhon mein (typical unique HR melody) sabh (high note) likha hai, karle yaakeen tu yeh chehra mera (typical unique HR melody) aaina (high note) hai. This is the BEST part of song and these lines sound great along with underlying beat.

Alka's lines, bahaar (at 2.44), pukaar (at 2.46), waar (at 2.51), melody emphasis added.

Between 1st and 2nd stanza, Alka's melodious feel croons followed by likeable piano piece.

2nd stanza

Female chorus crooining PARDESI (feel) from 3.47 to 3.50

From 4.10 to 4.14, typical unique HR melody.

The song ends with soothing female chorus.

Highlights of this song:

Sonu's lines from 2.20 to 2.32 are BEST part of song (typical unique indian HR melody) and give a KICK along with underlying beat pattern.

Alka's melodious vocals.

Soothing female background chorus.

Pleasant flute at start.

Dhin Tara

This song belongs to the celebration genre (like BINDIYA CHAMAKNE LAGI & JHOOT NAHI BOLNA) and tells the emotional tale from a brother's perspective (courtesy due to lyrics) which is disguised by the peppy rhythmic music arrangement and additional vocals, hence capturing both the mixed 'happy and sad' states in the same frame.

It begins with a grand opening from start to 0.13 that reminds of the grand opening of start to 0.16 in AMAR PREM TITLE TRAX.

From 0.16 onwards, male and female chorus cooning words hai hai hai and dhin dhin taara dhin dhin are very energetic, build the tempo of song and give a KICK.

The underlying dhol skip pattern kicks in from 0.39 to 0.49 followed by full on rhythmic dholak beats from 0.51 onwards.

The male croons DHIN TARA from 0.38 to 0.44 & 1.36 to 1.42 are the core mukhda tag lines.  

The female chorus behind Sanu's line LAAKHON KI in between 0.50 & 1.04, 1.13 & 1.27 give subtle sooth effect.

Sanu's lines, PAR TERA DIL MERI BANO HAI (typical unique HR melody) from 1.05 to 1.07 & 1.27 to 1.30 AN (off-da-hook high note) MOL (awesome profound down twist) from1.08 to 1.09 & 1.31 to 1.32, along with the quick catchy rising tune sur key pattern.

The energetic male croons HAAI from 1.11 to 1.13 & 1.34 to 1.36 give great intermittent effect.

Between mukhda & 1st stanza, grand peppy tunes play from 1.43 to 1.49 followed by a well structured feel good shehnayi tune piece plays from 1.50 to 2.04 followed by a feel good guitar piece and energetic male croons HOI from 2.05 to 2.15 along with underlying dhol skip beats.

1st stanza

The melodious feel good female chorus from 2.23 to 2.25 & 2.33 to 2.35 followed by cute rising tune sur from 2.25 to 2.26 & 2.35 to 2.38 gives awesome intermittent effect.

From 2.27 to 2.37, dhol beat skip pattern is of great cause.

Sanu's, YEH SINGAAAAAR (terrific profound down twist) YEH NIKHAAAAAR (terrific profound down twist) YEH MILAAAAAA (terrific profound down twist) from 2.36 to 2.43 are TYPICAL UNIQUE HR MELODY and depict that the hero's sister is the best looking bride is this world after doing her 'sola shingar'.

From 2.47 to 2.53, male chorus crooning the core mukhda tag line DHIN TARA is effective and gives kick.

Between 1st & 2nd stanza, soothing female feel chorus from 3.17 to 3.28 is followed by peppy baand baaja baaraat and energetic male croons HOI from 3.29 to 3.34

2nd stanza

Kumar's line CHOR (awesome desperation feel) at 3.36 depicts the helpless sadness / bebas gham of a brother due to bidayi of his beloved sister's doli.

The melodious feel good female chorus from 3.43 to 3.45 & 3.53 to 3.56 followed by cute rising tune sur from 3.45 to 3.46 & 3.56 to 3.57 gives awesome intermittent effect.

The soothing female chorus from 3.43 to 3.45 followed by tune sur from 3.45 to 3.46 is great.

From 3.47 to 3.57, dhol beat skip pattern is of great cause.

From 3.53 to 3.56, the female chorus followed by quick tune sur keys is awesome.

Sanu's, RABH SE HAAAAAAAI (profound down desperation plea twist) YEH DUAAAAAAH (profound down desperation plea twist) KHUSH RAAAAAAAHE (profound down desperation plea twist) from 3.57 to 4.04 is TYPICAL UNIQUE MELODY and it depicts all the happiness and blessings a brother craves from god for his sister's happily married life.

The gradually rising tune sur from 4.28 to 4.35 is likeable.

The song ends with catchy male and female croons DHIN TARA along with intermittent energetic HAAI and HUUUR (LOL) from 4.49 to 4.51

Highlights of this song:

1. Sanu's desperation feel vocals.

2. The dhol beat skip pattern and full on rhythmic dholak beats.

3. Grand opening at start, catchy quick rising tune flicks,well structured feel good shehnayi tune piece, feel good guitar piece and cute rising tune sur in stanzas.

4. Female & male energetic croons DHIN TARA, HAI & HUUR and melodious feel good female chorus.

5. Priceless lyrics like PAR TERA DIL MERI BANO HAI ANMOL. 

This song boasts of typical unique HR melody.

O Priya

The starting beat itself gets the listener into grove followed by a subtle guitar piece.

From 0.15 onwards, the theme piece tune kicks in followed by female chorus that convey the emotion factor.

The sound from 0.30 to 0.34 is likeable.

Kamaal khan sings in subtle voice and his HOOOOO (twist) from 1.04 to 1.05 and PRIYA from 1.32 to 1.33 is likeable.

The chorus joins in from 1.05 and they do make an impact.

Between mukhda and 1st stanza, behind the soothing female chorus, the male classical vocals from 1.36 to 1.55 come to kill the listener.

It strikes a chord and connects with the inner soul. They are HISTORY and BEST part of this song.

1st stanza

Very feel good vocals from Kamaal and female chorus.

Between 1st and 2nd stanza, very soothing male vocals and female chorus.

2nd stanza

Sanu's vocals on lines KABHI (3.29), HAAR (3.31) with slight feel twist and Alka's melodious are likeable.

Between 2nd and 3rd stanza, the female vocals are great, with a mention for rising keys flick from 3.55 to 3.57.

The guitar piece from 4.07 is great followed by melodious Alka's LA LA LA.

3rd stanza

Alka belts out more melody along with haunting background male chorus.

The chorus from 4.38 to 4.47 is feel good.

Alka's line jaane NA (melody with up twist) at 4.52 and BEETE, HASTA, KAISE.

The continuous tune sur from 5.14 to 5.20 gives good enhancement.

The chorus along with clap beats finishes off the song.

Highlights of this song:

1. The starting underlying beat that gets the listener into the groove.

2. The guitar theme piece.

3. The subtle soothing feel good vocals of Kamaal Khan and female chorus.
Alka's melodious vocals.

4. The HISTORY classical male vocals from 1.36 to 1.55 that rip thru the soul and are best part of this song.

Aa Meri Life

The song begins with a peppy tune pattern followed by peppy beats.

The metal guitar kicks in from 0.26 to 0.32 along with dodgy male croons.

Kamaal croons with feel vocals from 0.33 to 0.47

The finger snaps from 0.55 to 1.01 are great build up.

The mukhda lines AA MERI LIFE BANADE along with intermittent feel good female croons from 1.20 to 1.28 & 1.42 to 1.50 are feel good effective and well structured.

Between mukhda and 1st stanza, the male vocals go crazy followed by feel good male vocals and trumpet piece.

1st stanza

Kamaal sings with feel good vocals on a simple tune pattern, with emphasis on HAAI (quick twist) from 2.40 to 2.41

The soothing female chorus kicks in from 2.38 to 2.45 to enhance the feel good melodious effect.

From 2.52 to 3.03, HR asks Kamaal to sing with deliberate feel good arrogance.

Between 1st and 2nd stanza, more crazy vocals along with trumpet followed by feel good whistle.

2nd stanza

The female singer sings with feel good vocals with a naughty seductive touch on a simple tune pattern.

The soothing female chorus kicks in from 3.47 to 3.54 enhance the feel good melodious effect.

The song ends with likeable male and female croons of mukhda tag lines.

Highlights of this song:

1. Kamaal's deliberate adjusted singing style and female singer's seductive feel good vocals.

2. The peppy beats, metal guitar, feel good whistle and finger snap effect for build up.

3. The soothing female chorus in stanzas.

This is a peppy feel good melody.

My Picks

1. Dhin Tara & Saawariya (tie).


BEST PART of song is Alka Yagnik's & Kamaal Khan's lines, OOOOOOO (catchy prolonged alaap) TU CHEEZ YAARA KAMAAL (typical unique HR melody) from 1.12 to 1.21 & 1.47 to 1.55 followed by the catchy tune from 1.27 to 1.29 & 2.01 to 2.03 that gives completeness effect to preceeding core mukhda tag lines SAWARIYA. Alka's lines in 2nd stanza, DHADKAN (awesome quick desperation plea twist) SAANSON (awesome quick desperation plea twist) NEENDEIN (awesome quick desperation plea twist) in between 4.10 & 4.15

Dhin Tara

This is Himesh's BEST song in SHAADI/CELEBRATION genre and it has strong 'typical unique HR melody' in Sanu's line, PAR TERA DIL MERI BANO HAI from 1.05 to 1.07 & 1.27 to 1.30, AN (OFF-DA-HOOK feel good high pitched melody) MOL at 1.08 & 1.31, Sanu's line in 1st stanza, YEH SHINGAAR (terrific profound down twist) YEH HIKHAAR (terrific profound down twist) YEH MILAN (terrific profound down twist) KA GHUMAAR (terrific profound down twist) from 2.36 to 2.44, Sanu's line in 2nd stanza, RAB SE HAI (terrific profound down twist) YEH DUA (terrific profound down twist) KHUSH RAHE (terrific profound down twist) TU SADA (terrific profound down twist) from 3.56 to 4.00 konnekt with the listener. The male croons DHIN TARA are catchy along with underlying foot-tapping rhythmic quick dhot hit pattern. 

2. Pardesi

The underlying beat from 0.26 onwards is laidback rhythmic. OFF-DA-HOOK drum hit pattern from 0.43 to 0.44 with a thump effect. Alka's lines, LA LA LA LA (terrific melodious feel good croons) from  2.11 to 2.15. BEST PART of song is Sonu's lines MUJHKO YEH KEHNA NAHIN AANKHON MEIN SAB (OFF-DA-HOOK high note) LIKHA HAI...KARLE YAKEEN TU YEH CHEHRA YEH TERA AAINA (OFF-DA-HOOK high note) HAI from 2.20 to 2.33 which is typical unique HR melody notes that get listeners into da zone and make them feel it along with underlying beats.

3. Kahin Pyar Na Ho Jaaye

4. O Priya O Priya

Underlying beat is laidback rhythmic. BEST PART of song is soulful male desperation plea croon from 1.34 to 1.54 that literally pours their heart out.

5. Aa Meri Life