One of the traits of Himesh - the sufi rwak singer is to use ustad vocals that have a casual rawness (which was the hall mark of veteran sufi rwak legend Nusrat Fateh Ali Khan).

So while ustad himesh reshammiya has used such twists in various parts n portions in his sufi rwak songs, the following two twists are leaps n bounds ahead in terms of intense emphasis vocals that drive the listeners berserk (who are into serious sufi rwak music, understand its nuanses and catch its pulse).

> HAAAAAI (ustad emphasis twist) from 1.33 to 1.34 in AAP KI KASHISH from AASHIQ BANAYA AAPNE.

> HUEEEE (ustad emphasis twist) from 0.50 to 0.51 in AHISTA AHISTA TITLE TRAX.

Ustad, in the sense that, such sufi rwak nuances were pioneered by da legendary 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.

> HO - OO - OO - OO (off-da-hook fulltu high pitch quick rising twist) from 1.20 to 1.21 & 1.58 to 2.00 give jazba to da point of being capable of driving da listener berserk, when heard in overall context of his associated lines in TERE SANG ISHQ from TOM DICK N HARRY.

Twists by Himesh that can 'shake up' da listener:

> REEEEE (profound quick emphasis twist) from 2.22 to 2.23 & 2.27 to 2.28 in DAMADJI from RADIO.

> AAAAAA (profound quick intense emphasis twist) from 3.43 to 3.44 in SANU GUZRA ZAMAANA, from 3.58 to 3.59 in SANU GUZRA ZAMAANA LOUNGE MIX from KAJRAARE.

Some other non Himesh male vocals (with no twists), that could have da potential to drive listeners berserk:

> Vineet's fulltu high-pitched croon WELCOMEEEEE followed by cult male classical vocal alaap from 5.14 to end in KOI TUMSE NAHI from DASHAVATAR.

> Arya's cult rap from 4.17 to 4.32 in DIL DIYA HAI from PHIR HERA PHERI.

> Male rap from 2.20 to 2.29 in SISAK SISAK KE from KARZZZZ.

> Agressive male vocals CHAMMIYA at 1.09 & 1.20 in CHAMMIYA from DULHAN HUM LE JAYENGE.

Moving on from the serious intense male vocals to a rather different light hearted mode of achieving the same intended result/conscequence, the following female seductive feel vocals can especially drive the male listeners berserk due to their naughtyness, mischieviousness and teasing nature (jiski wajah se basically dimag kharab ho jata hai):

> Naughty female croons that gradually grow on da listener (along with quick heavy drum hits) from 1.14 to 1.17 & 1.42 to 1.44 in GONNA FALL IN LOVE from TAARZAN - THE WONDER CAR.

> Sunithi's line, ROCK IT WOOH YEAH MOVE IT NOW from 0.52 to 0.56 in KAJRA KAJRA KAJRARE.

> Seductive feel female line, SA (in overall context of associated lines) at 3.31 in TUNE MERA CHAIN VAIN from ANTHONY KAUN HAI.

> Shalini Singh's sugar-coated seductive feel vocals, especially in her care free croons TA RA RA RA from 1.37 to 1.38 in HEY BLACK HO YA WHITE from DASAVATAR.


Himesh - the composer has also used loud female seductive sighs / exclamations / chills as seductive feel elements at times having a similar trend (that do not drive berserk):

> From 4.17 to 4.24 in TERI GALIYON SE from MAIN AISA HI HOON.

> At 0.11 in BELIBAAS from SILSILAY.

> From 0.59 to 1.01 & 1.07 to 1.09 in AHISTA AHISTA TITLE TRAX REMIX (this was actually da DJ's innovation in this case).