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Ishq Kiya Kiya

The song begins with bazz voltage fluctuating sound pattern.

The mast foot tapping rhythmic beats kick in from 0.11 onwards along with audience cheers.

Himesh's lines DEKHAAAAA (prolonged) AAAAA (profound sufi rwak twist with echo effect) from 0.21 to 0.27, 0.36 to 0.38, 1.04 to 1.05, SOCHAAAAA (prolonged) AAAAA (prolonged sufi rwak twist with echo effect) from 0.29 to 0.34, 0.41 to 0.42, 1.08 to 1.10

The semi-plugged beat along with audience cheers from 0.46 to 0.52 & 1.14 to 1.20 is the BUILD UP part.

Himesh totally HITS IT with mast jhakass / kickass fast drum-roll beats from 0.52 to 0.53 & 1.20 to 1.21 that were similarly used from 1.16 to 1.17 in JHALAK DIKHLAJA from AKSAR.

The music arrangement in terms of its overall intended purpose i.e. BUILD UP (semi-plugged beats) followed by KILL EFFECT (fast drum-roll beats)from 0.49 to 0.56 was similarly used from 1.13 to 1.17 JHALAK DILHLAJA from AKSAR.

Himesh's high pitched line MAINE (OFF-DA-HOOK fulltu high-pitched power packed impact vocals) from 0.54 to 0.55 & 1.21 to 1.22 gives KICK.

A special mention for simple rhyming lyrics KIYA KIYA , PIYA PIYA & JIYA JIYA which is the USP of Sameerji's lyrics.

Between mukhda & 1st stanza, cunning computerized vocals along with a quick techno tune followed by kickass fast drum roll beats from 1.45 to 1.46 and repetitive Arabic tune from 1.46 to 1.52

1st stanza

Himesh's lines are like slogans with echo effect, with emphasis on lines, tanhaiyai HOO (slogan) * 2 (echo), pyar ME (slogan) * 2 (echo), barkhaiye HO (slogan) * 2 (echo), intezaar ME (slogan) * 2 (echo).

Sunithi's line, JAANIYAAN (voice deepening for penetrating effect) from 2.11 to 2.13

Jayesh's croons from 2.13 to 2.20 are feel good.

Between 1st & 2nd stanza, a haunting Arabian tune plays followed by followed by Jayesh's desperation croons, cunning computerized vocals and loud whispers.

2nd stanza

Himesh's lines are like slogans with echo effect, with emphasis on lines, chahe DIL (slogan) * 2 (echo), jahan KO (awesome slogan sufi-rwak twist) * 2 (echo), hai MUSHKIL (slogan) * 2 (echo), jaan KO (slogan) * 2 (echo).

Sunithi's line, JAANIYAAN (voice deepening for penetrating effect) from 3.37 to 3.39

Jayesh's croons from 3.40 to 3.46 are feel good.

Himesh's high pitched line MAINE (OFF-DA-HOOK fulltu high-pitched power packed impact vocals) from 4.32 to 4.33 & 4.40 to 4.41 gives KICK.

Highlights of this song:

1. Himesh's power packed slogans and prolonged abrupt twist-n-turns.

2. The underlying mast rhythmic foot tapping jhakass beats, wicked computerized vocals and Arabic tune.

3. The fast paced drum-roll kickass beats behind Himesh's mukhda line MAINE that deliver the KILL effect.

4. The build up of the song in semi plugged mode along with audience cheers until the KICKASS beats hit it.

5. Sunithi's voice deepening JAANIYAAAAAAA with penetrating results.

Ishq Kiya Kiya- Remix

Himesh has been a trendsetter in more than many ways. One of them is to feature regularly in music videos of his non-fimli albums to boost up promotional campaigns (especially in 2006). His most notable ones are in ABA remix, Tum Saanson Mein remix, Zara Jhoom Jhoom remix, Mohabbat Ki remix, but one song where he rwaked it with his zabardaast solid performance was ISHQ KIYA KIYA (original and remix) which were full on Sufi Rwak numbers and where he was showcased in his trademark rwakstar attire and look.

Sanwaariya

Two singers i.e. Himesh and KK whose voice compliment each other very well due to their SHARP KNIFE EDGE vocals croon a song together.

The song begins with sound of matka flicks followed by feel good male vocals along with a synthetic bazz sound and a string based synthetic raga instrument that was also used at very start from 0.00 to 0.01 of AARZOO from MR FRAUD.

The feel good oriental flute pattern kicks in from 0.13 to 0.29 & 0.39 to 0.47 and it is the theme piece that plays intermittently.

The main underlying beats kick in from 0.30 onwards and they are rhythmic bindass.

The Arabic instrument from 0.48 to 0.55 & 1.03 to 1.10 was used similarly from 0.20 to 0.44 in I LOVE U 4 WHAT U R from AAP KI KHATIR for "overall feel good effect" purposes but the tune pattern is obviously different.

Himesh croons in an adjusted singing style from 0.56 onwards, a style that he has asked KK and Shaan countless times in pre-ABA club 'in da house' type of songs.

KK also complements Himesh and sings with feel good vocals especially from 1.28 to 1.30 & 2.14 to 2.16 (bindass).

The composition pattern of mukhda lines from 1.31 to 1.46 & 2.16 to 2.29 is simple.

Between 1st & 2nd stanza, the female oriental croons is just OFF-DA-HOOK along with remix beat effect from 2.40 to 2.42 which was similarly used from 0.44 to 0.46 in AAHA AAHA from BOMALATTAM. This is CULT stuff depicting that don't mess with Himesh. The feel good by rap by KK is cool stuff.

1st stanza

The composition pattern and singing style belongs to Pritam's stable especially the rock-ballad croons from 3.16 to 3.33 and it only just shows the versatility of Himesh that he can easily create someone's style but no composer can create typical unique HR melody.

Between 1st & 2nd stanza, KK belts out some fulltu bindass rap whereby he basically he means to say that all these girls belong to us boys, lolz, just kidding.

2nd stanza

The composition pattern and singing style belongs to Pritam's stable especially the rock-ballad croons from 4.45 to 5.02 and it only just shows the versatility of Himesh that he can easily create someone's style but no composer can create typical unique HR melody.

Highlights of this song:

1. Himesh's and KK's feel good vocals that complement each other.

2. The rhythmic underlying beats, the feel good flute piece and the Arabian element.

3. The feel good bindass rap by KK in between stanza gaps.

4. The off-da-hook cult oriental female vocals in between mukhda and 1st stanza, and the string instrument followed by synthetic bazz sound.

This song is more about feel good rhythm and less about melody.

One does not mind such a bindass number but also looks forward to both these singers complementing each other with their sharp knife edge vocals in a rhythmic melodious composition e.g. on the likes of Teri Yaad from Vaah! Life Ho Toh Aisi.

Another thing to observe is that KK will never talk ill about Himesh because he was never very far from Himesh's musical radar.

Tune Mera Chain

Time for another chillax laidback number.

The song starts with naughty feel good female vocals in unplugged mode doing her thing, with emphasis on computerized echo effect from 0.13 to 0.17

The old styled harmonium theme piece plays from 0.17 onwards along with underlying mast kickass beats that have a 4 quick hit pattern i.e. like a metal object / spoon hitting 4 times real quick on a hard surface, followed by  feel good rap-n-reggae male vocals.

From 0.46 onwards, Kunal croons the mukhda lines on a terrific scale/sur/pitch which couldn't have been better, followed by oh yeah (male rapper).

From 0.57 onwards, another heavy quick-roll beat joins in the main beat at regular intervals to give it the complete effect i.e. at 0.57, 1.00 and so on.

From 1.22 to 1.24 & 1.55 to 1.56, the 5 profound heavy raw dhol hits followed by a kick giving wicked rebel cult bazz sound on the last drum beat gives sahi desired effect.

Between mukhda & 1st stanza, a refreshingly mesmerizing female seductive feel voice hums along with a likeable oriental flute piece, with emphasis on HAAAAAA (awesome gradual prolonged voice deepening) from 2.16 to 2.21 that gets melodiously penetrating.

1st stanza

The raw dhol hit pattern from 2.26 to 2.27 gives perfect kick start to stanza.

Kunal & Shreya sing with feel good vocals to complement the simple feel good melody, whereby the underlying beat pattern makes full impact.

Kunal's line, kar SAKUUUU UUUUUUU (prolonged feel good twist) from 2.46 to 2.47.

Between 1st & 2nd stanza, the feel good rapper does his thing & provokes the female vocals who reply seductively with AA AA, with emphasis on the line SA (off-da-hook naughty denial) at 3.31 which just drives the listener berserk. A raga tune plays from 3.31 to 3.40 and the rapper ups da anti to get real serious with his stuff in business end mode from 3.41 to 3.51 to give sike to listeners and get them into da zone. The computerized echo effect EE EE EE (fast) EE EE EE EE EE from 3.51 to 3.55 is of great cause.

2nd stanza

The raw dhol hit pattern from 3.57 to 3.57 gives perfect kick start to stanza.

Kunal & Shreya sing with feel good vocals to complement the simple feel good melody, whereby the underlying beat pattern makes full impact.

Kunal's line, NAAAAAAAAAAAAAA (prolonged feel good twist) from 4.15 to 4.16

The song ends with 4 profound heavy dhol hits in unplugged mode.

Highlights of this song:

1. Kunal's and Sunithi's feel good vocals.

2. The mast kickass underlying innovative beats with a rwakin quick hit pattern.

3. The feel good male rapper and female naughty seductive feel croons, with computerized echo effect.

4. Profound heavy dhol hits followed by a kick giving wicked rebel cult bazz sound to give sahi desired effect and likeable oriental flute piece in between 1st stanza gap and raga tune piece in between 2nd stanza gap. 

The only hitch with this song was perhaps the use of OLD STYLED HARMONIUM TUNE and KK's like O BALMA-AAAAA (prolonged twist) due to which this song gave an impression of being inspired from old classics in the era of yesteryears, which it really was not.

It was just an Indo-Western combo that didn't quite mix and gel very well but having said that you still cannot take anything away from this song, because albeit being a simple tune it still scores decently on the rhythmically feel good factor count.

Bhangra Paale

To begin with, how about the kool Paaji with guitar who is hangin / chillin out n havin a good tyme wid his pal in da above video from start to 0.35!

His lines from start to 0.15 are sung with terrific passionate emphasis feel vocals.

His line, AA-AA-AA-AE (off-da-hook profound emphasis twists with vocal ghehrayi) from 0.16 to 0.17

His lines from 0.17 to 0.31 are sung with awesome feel good vocals followed by high pitched feel good croons from 0.32 to 0.35

This is off-da-hook singing on catchy notes along with feel good guitar flicks / riffs and hats off to this Singh Is Kinng whereby Himesh should have considered a Bhangra Paale - 2nd version with his vocals.

Himesh - Sonu have done past history works like YEH DIL TOH MILA HAI from DNJAK. This song is another HISTORY work by their jodi combo and the beauty about is it how 'effortlessly' they have gone about their business and delivered da goods / results!

This is a pleasantly likeable laidback number about having a good time with the overall "catchy" composition is feel good hummable and easy on the ears.

The song starts with a whoosh sound of a plane taking off followed by dhol hits and bazz metal guitar piece with a rebellious mafia voice yelling EEAA EEAA which is kinda cool.

From 0.25 onwards, a very catchy CUTE flute piece plays followed by Sonu's feel good croons (along with his additional computerized vocals in higher pitch) in between 0.38 & 1.02 whereby the listener feels like swaying his arms in the air.

The remix beat effect from 0.33 to 0.35 is great.

Between 1.01 & 1.19, 1.54 & 2.02, a catchy new age synthetic Punjabi tune plays.

Sonu's line AA AA AA (awesome quick emphasis twists) AA (awesome high note) from 1.22 to 1.23 & 2.04 to 2.05 is catchy.

Sonu's line, ISHQ ME LOVE SANG GAALE (catchy feel good vocals) from 1.24 to 1.26 & 2.06 to 2.08 in unplugged mode is followed by off-da-hook drum-roll beats (to give the completeness effect) from 1.25 to 1.26 & 2.07 to 2.08 that were also similarly used behind lines RAABA RAABA in TANDOORI NIGHTS from KARZZZZ.

From 1.36 to 1.44, the male voice yelling HAI HAI HAI raise the energy levels.

From 1.43 to 1.52, the combo of cute flute and male croons want to make the listener slowly sway their hands in the air to enjoy the feel good factor.

Sonu's HISTORY intense high-pitched desperation feel alaap from 2.08 to 2.12 just wins over da listener.

Between mukhda & 1st stanza, the combo sync of cute flute and feel good male vocals is followed by Sonu's HISTORY intense desperation feel emphasis croons from 2.33 to 2.35 that totally konnect with da listener.

1st stanza

Sonu sings with feel good vocals and is complimented by intermittent combo sync of cute flute and feel good male croons.

The beat makes full impact especially in the female portion.

From 3.04 to 3.12, female vocals with echo effect strike a chord and get listener into da groove due to the laidback chill effect.

The intermittent male voice yelling HO at 3.15 & 3.18 upholds the energy levels of the song.

Sonu's line, BASALE-EEEE (awesome low note desperation plea emphasis twist) from 3.20 to 3.21 

Between 1st & 2nd stanza, the bazz metal guitar and new-age synthetic Punjabi tune followed by TANDOORI NIGHTS fast drum-roll beats, followed by energetic male vocals HA HA HA depicting the remix andaz of DJ Akbar Sami (also used in DIL TUMHARE BINA REMIX from 36 CHINA TOWN).

2nd stanza

Sonu sings with feel good vocals and is complimented by intermittent combo sync of cute flute and feel good male croons.

The beat makes full impact especially in the female portion.

Sonu's line, CHHU (low note emphasis) PALE at 4.22 & TERE BIN AB (gradual desperation plea voice rise) at 4.24

From 4.26 to 4.35, female vocals with echo effect strike a chord and get listener into da groove due to the laidback chill effect.

The audience roar joins in from 4.48 to 4.51 & 5.10 to 5.13

Sonu's line, BANALE-EEEEEEEEE (TERRIFIC gradually rising desperation plea emphasis twist) from 5.07 to 5.08 & ISHQ ME LOVE SANG (awesome innocent feel) from 5.08 to 5.10

Additional dhol beat kicks in from 5.11 onwards.

The song ends with the combo sync of cute flute piece with added high-pitched male croons, followed by a techno sound.

Highlights of the song:

1. A pleasant surprise in form of Sonu Nigam returning into Himesh's musical frame albeit for a touch and go.

2. Female vocals with echo haunt effect.

3. The underlying laidback beat (max effect in stanzas), bazz metal guitar, new-age synthetic Punjabi instrument tune, TANDOORI NIGHT fast drum-roll beats and dhol beats.

4. The combo sync of cute flute piece and feel good male vocals.

5. The wicked rebel rap EEAA in the beginning and in between stanzas, energetic male croons HO, and off-da-hook male intense desperation feel alaap in between 1st stanza gap.

The manner in which the "feel" (Sonu's alaaps and twists) is woven in with the "feel good factor" (orchestration and female/rap vocals) is commendable!

Fans can be proud of Himesh for being able to compose such a number that doesn't have his usual trademark elements in terms of 'typical unique HR melody' but yet has a 'present' stamp of his overall signature sound.

Same was the case with RAFTA RAFTA from NAMASTE LONDON!

This is yet another winner up da sleeve of Himesh-Sonu combo.

Lets Rock

This is a 'rhythmically foot tapping feel good' melody courtesy due to 'orchestration and vocals' whereby the female lover is expressing her desperation feel (albeit in a happy-go-merry manner rather than saddistic) courtesy due to 'the lyrics'.

The song starts with feel good male rap vocals in semi-plugged mode.

The techno tune from 0.24 to 0.31 followed by repetitive thumping beat from 0.32 to 0.39 builds up the song tremendously.

Some more feel good rap follows from 0.40 to 0.54 along with underlying rhythmic beat pattern.

The well structured simple groovy been (snake) tune pattern from 0.55 to 1.10 is the theme piece and the calypso beat which is a leaf borrowed from household DJ Abar Sami's remix book kicks in from 1.02 onwards.

The start-stop followed by whoosh effect from 1.16 to 1.18, 1.29 to 1.31 & 2.03 to 2.05 gives great intermittent effect followed by energetic male croons LETS ROCK from 1.18 to 1.21, 1.32 to 1.35 & 2.06 to 2.09 that provide foot tapping rhythm along with the underlying beat.

Sunithi's line KYAAAAA (twist pattern) from 1.29, 1.43, 1.53 & 2.27 was similarly used in line MILNA-AAAAA (twist pattern) from 1.23 to 1.24, 3.23 to 3.24 & 3.27 to 3.28 in TERA MERA MILNA from AKS - THE MOVIEE.

Sunithi's lines from 2.00 to 2.06 & 2.33 to 2.39 remind of old era and the male rap LETS ROCK adds an interesting dimension.

Between mukhda & 1st stanza, the feel good male reggae rap returns along with groovy been (snake) theme piece.

1st stanza

Sunithi sings the simple yet effective composition pattern from 3.00 to 3.16 with penetrating feel good vocals.

From 3.16 to 3.24, the lines are likeable also due to additional faint female vocals.

Between 1st & 2nd stanza, best part of the song arrives with the quick repetitive catchy tune pattern (TYPICAL UNIQUE HR MELODY) that plays in semi-plugged 'build up' part from 3.51 to 3.58 followed by the 'kill effect' which is delivered by the arrival of underlying rhythmic beats from 3.59 to 4.07 to make proceedings a rwaking affair whereby the listener gets into the groove.

2nd stanza

Sunithi sings the simple yet effective composition pattern from 4.11 to 4.26 with penetrating feel good vocals.

From 4.27 to 4.34, the lines are likeable also due to additional faint female vocals.

Highlights of this song:

1. Sunithi's penetrating vocals and Arya's chillax rap, and attitional female vocals in stanzas to enhance the feel good factor.

2. The underlying rhythmically foot-tapping beats plus DJ Akbar Sami styled calypso beat.

3. The techno tune followed by thump beat effect at start for build up, the groovy been (snake) theme piece and start-stop followed by whoosh effect

4. The quick catchy repetitive typical unique HR melody tune in between 1st and 2nd stanza which is best part of song.

This is an experiment by Himesh in terms of concentrating on rhythm, beats and most importantly to get rap-n-reggae into his music.

Himesh can be silently proud that he can effortlessly make such kind of likeable situational songs which is not his typical unique HR melody.

Because I Love You

The oriental flute followed by whoosh wind sound effect from start to 0.09 gives a imaginary feel to the listener as if they are chilling at a luxurious beach resort of countries like Malaysia, Thailand n Bangkok in South East Asia (SEA) and the ocean breeze is flowing by.

The beat pattern from 0.09 onwards is very rhythmic laidback with a thump effect and is accompanied by string based guitar tune which gives awesome tune sur throughout the song.

The raga tune used intermittently throughout the song conveys the lover's desperation plea.

Kunal's lines, KABHI TASAVUR (feel good emphasis) from 0.54 to 0.56 & 1.09 to 1.11 and lines OO MERE REHUMAN OO MERE JAANIYA * 4 from 1.20 to 1.30 give halke se kick especially the OO part.

Kunal's lines, DIL ME REHTI HAI (profound emphasis) TUUUU (prolonged) UUUU (low twist with echo effect) from 1.31 to 1.35 & 2.05 to 2.08 followed by dying whoosh effect and intermittent hard drum hits.

Off-da-hook drum hit pattern from 1.47 to 1.49 & 2.17 to 2.19 reminds of off-da-hook drum hit pattern from 1.22 to 1.24 in O JAANA from ROCKY – THE REBEL, only strictly in terms to give the sahi desired effect.

The English phrase COZ I LOVE YOU which is the core mukhda tag line again brings back the subtle feel good effect.

The string tune sur from 1.53 to1.55 actually jumps half note up thus giving overall interesting mix.

Between mukhda & 1st stanza, the laidback oriental flute piece returns along with off-da-hook whoosh effect from 2.20 to 2.35 thus giving a feeling that the hero and heroine are playing hide-n-seek behind the dense forests near the water fronts, followed by the desperation plea raga tune from 2.36 to 2.41 which acts like a teaser call out tune in terms of ending the separation of distance between the two [fun-intended]

1st stanza

The 3 drum hits at 2.48 give great start to stanza.

Kunal's lines, BADHATI (desperation plea emphasis) at 2.53 & BAAHON (desperation plea emphasis) at 3.06

The female vocals from 3.11 to 3.21 have penetrating haunting depth.

The desperation plea raga tune and drum beat effect used intermittently are of great cause.

Between 1st & 2nd stanza, the raga tune with an emotional plea is very interesting choice as it depicts some Buddhist religious sentiments and takes the imagination of the listener towards the laughing Buddha monk, tomb, shrines and pilgrimage. This only depicts how close and deep Himesh has gone into the oriental roots.

2nd stanza

The 3 drum hits at 4.15 give great start to stanza.

Kunal's lines, PEHER (desperation plea emphasis) DAARI at 4.21, LAGE JEEVAN (desperation plea emphasis) at 4.34

The female vocals from 4.38 to 4.48 have penetrating haunting depth.

The desperation plea raga tune and drum beat effect used intermittently are of great cause.

Highlights of this song:

1. Kunal's feel good desperation emphasis singing & female vocals with penetrating vocal depth (perfect choice selection of singers).

2. The laid back underlying beat pattern along with string tune sur, the oriental harmonica, 3 drum beat effect, raga tease and emotional plea raga tune used in between 1st and 2nd stanza

3. The overall build up effect from 1.40 to 1.48

4. Off-da-hook whoosh effect.

Well, the fact is that one is not really used to listening such compositions that are tangent to Himesh's usual signature style, that itself is an achievement!

The words to describe this song are subtle, laidback, feel good (due to music arrangement and female vocals) with traces of emotional plea and desperation emphasis (due to raga tunes and Kunal's vocals).

Verdict

The music of Anthony Kaun Hai was not weak as such!

It was 'chillax, feel good and laidback' thus perfectly catering to backdrop locales of the project i.e. songs like Bhangra Paale, Because I Love You & Tune Mera Chain Vain had oriental touch / flavor in music arrangement / orcherstation and were custom made for serene tropical hemisphere in South East Asia (SEA) as depicted in their respective music videos.

Bhangra Paale and Because I Love U have slight traces of typical unique HR melody in some notes.

Tune Mera Chain Vain Liya and Lets Rock are more focused on rhythmic beats and feel good rap at da compromise of melody which is just about average.

Where these songs score overall in totality is that they are not your usual Himesh "composed only" songs with his distinctive stamp, hence this is a somewhat refreshing experience where himesh breaks da jinx of his usual composition style and yet applies his same core fundas and sensibilities in new stuff. 

Due to this fact, da listener doesn't mind hearing these "brand" of songs in which Himesh steps out of his comfort zone, experiments with sound and explores more about his versatility as a composer.

If it was rather termed as 'lukewarm' then it was because of the previously released benchmark Himesh albums that had already set high default standards and lifted da bar in terms of expectations each n every time a new album hit da stands.

It is amazing when some critics say that a particular Himesh album was not upto da mark and was missing that distinctive touch because Himesh didn't render his voice at all, a fate suffered by Shaadi Se Pehle which was penned down just because Reshammiya - the singer who was red blazing hot at that time didn't feature in it.

Yet those critics have an issue when Himesh croons most / bulk of the songs citing da reason as an overdose / overkill of himesh - the singer, irrespective of the tunes being quite fairly decent i.e. a fate suffered by Rocky - The Rebel and Dil Diya Hai.

Therefore, a cluster of himesh albums releasing back to back within a short time frame whereby his sound was heard once too often didn't help da cause of Anthony Kaun Hai whereby it got slightly sidelined and overshadowed.

Had it been released in a well spaced gap then it could have potentially been more effective and had made more impact (and same is da case with Rocky, Fear & Dil Diya Hai).

My Picks

From Himesh's "sung n composed" songs:

1. Ishq Kiya Kiya

The semi plugged build up in 'Ishq Kiya Kiya, Ishq Piya Piya, Ishq Jiya Jiya' part followed by mast kickass fast drum roll beats give kick followed by Himesh's off-da-hook fulltu high pitched line MAINE which gives a vocal punch. There is a constant underlying fluctuating bazz voltage sound. Its music video has one of the most rwakin performances by Himesh, and it fully showcases his rwakstar phenomenon n elements. Basically the song sells on his name n his rwakstar status.

2. Sawariya No Way

The female THAI vocals in between 1st stanza gap is CULT stuff.

From Himesh's "composed only" songs:

1. Bhangra Paale (HISTORY work and one of BEST EVER songs by Himesh-Sonu jodi combo)

2. Because I Love U

This song gives a chill pill to the listener. Underlying beat is laidback rhythmic with a thump effect. The oriental flute makes the listener want to go down the memory lane of serene tropical laid back beaches in South East Asia, along with off-da-hook whoosh effect depicts the combined strong wave n wind effect. The intermittent raga tune enhances the desperation plea. Off-da-hook drum hit pattern from 1.47 to 1.49 & 2.17 to 2.19, Female vocals in stanzas have penetrating haunt feel depth. KK's best mukhda lines are O MERE REHUMAN...O MERE JAANIYA.

3. Tune Mera Chain Vain & Lets Rock (tie)

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