Aap Se Mausiiquii

Aap Se Mausiiquii Music Video

The song begins with likeable grand piano interlude, joined in by grand warm violin piece until 0:29

Himesh croons the intro lines in super high pitch, whereby the lines AAHISTIGI (awesome compositional notes) 0:40 to 0:44 and BAS AAP HI (awesome composition notes) from 0:56 to 0:59 give completeless effect, appeal and impact to the preceeding mukhda lines.

Himesh's high pitched intro lines, HALKA HALKA SA, HAI NOOR DIL MEIN, SAANSON MEIN BHI HAI AAHISTIGUI...BEIKTHYARI, YEH KEH RAHI HAI, MERI TOH DUNIYA, BAS AAP HI from 0:30 to 0:58 along with quick repetitive piano keys with sense of urgency like fastening heartbeat is out-of-da-world build up.

The violin interlude from 0:59 to 1:01 has a painful emotional quotient.

The extended mukhda hook from 1:01 onwards is from Himesh's Sufi Rwak stable, which is complex unconventional and full of profound twists, yet so appealing.

Himesh sings with heartfelt vocals.

Himesh's line, AAP SE (profound Sufi Rwak twist) from 1:02 to 1:03, AASHIQUI (profound Sufi Rwak twist) from 1:04 to 1:05, MAUSIQUII (profound Sufi Rwak twist) from 1:11 to 1:12

Himesh's line, MAUSIQUII (awesome composition note) from 1:13 to 1:16 is the intermediate connecting line that gives appeal to the whole mukhda hook.

Himesh's line, AAP SE (awesome heartfelt vocals with painful kashish) from 1:16 to 1:17

The underlying piano interlude in backdrop conveys the urgency of love and enhances great build up until this point.

Grand thunder effect at 1:20

The underlying subtle drum hits from 1:21 onwards have a 'halke se feel' in terms of complimenting the tempo of the composition and progressing it forward.

Himesh's line, AAP SE (off-da-hook fulltu vocals, off-da-hook compositional notes whereby mukhda reaches it peak) from 1:16 to 1:19 to fully express underlying inner feelings of lover.

Himesh's line, MAUS (out-of-da-world ghehraayi singing) IQUIII-IIIIII (out-of-da-world prolonged tonal kashish) from 1:38 to 1:47

Between mukhda and stanza, the combo of violin piece and piano interlude is back.

Stanza

Himesh softens his vocal chords to sing with super subtle heartfelt vocals that strike a chord and melt the listener on compositional notes from 2:26 to 2:49 that come from his pre ABA style of music.

The underlying subtle piano and violin enhance the heartfelt quotient, whereby the repetitive piano keys depict the ticking time and fastened heartbeat in terms of the urgency of lover to finally attain love.

Grand thunder effect at 2:50

The lines from 2:52 to 3:02 again are from Himesh's Sufi Rwak stable that depict the complex and kashmakash side of love in trying and testing times, with lines GUZAARISHEN (awesome profound Sufi Rwak twist) from 2:54 to 2:57

After the unplugged part, the subtle drum hits are back from 3:02 onwards to give that 'halke se' rhythmic feel that gets the listener slowly but surely into the slow groove.

The lyrics from 3:02 to 3:32 have emotional chord and konnekt in them.

Himesh's line, BAS AAP HAIN (awesome composition notes) from 3:13 to 3:16 & 3:28 to 3:32 give completeless effect, appeal and impact to the preceeding lines.

Himesh's line, AAAA (tadap ki Aah) from 3:49 to 3:51

Highlights of this song:

1. Himesh's heartfelt vocals with echo effect.

2. Underlying subtle drum hits, grand piano interlude, emotional feel grand violin and intermittent grand thunder effect.

Aap Se Mausiiquii - Music Video

Aap Se Mausiiquii Music Video

The song has been shot aesthetically with grand picturesque locales.

The female model Puja Banerjee has acted quite well with her innocent masoom aadayein during beginning and intriguing emotional expressions during the end.

Himesh has acted well and done justification to his character of a lover with unconditional love.

There is heartfelt shidaat in his expressions from 1:01 to 1:34 & 3:02 to 3:59

Himesh's female colleague has acted naturally and their interaction and dialogue delivery from 2:08 to 2:25 is great.

The ending concept steals the show, when Himesh finally decides 'that's it' in terms of the wait being over and now it is time to express his love and let the girl know about it. The way he turns around and looks at her from 4:01 to 4:04, slowly walks upto her, holds her hand, gives her the card, and she gently feels the words written on it, stands up in kashmakash upon the realization of what it means, touching Himesh's cheeks with tears trickling down her eye and hugs him. This is a feel good ending but leaves the viewer with a heavy heart, melting feeling and gutted due to the way the ending of story unfolds. The arrangement also reaches its culmination and reprise point, with the chime effect from 4:36 to 4:40, followed by heartfelt piano interlude and emotional feel violin piece that conveys mixed feelings in terms of tugging at the emotional strings of heart and also giving a happy end vibe with the completeness and satisfaction that the lovers united and the girl found love despite all the odds. 

Also what gets to the viewer is when Himesh tells his female colleague 'kabhi kabhi soch ke hairat hoti hai, ki itni achi ladki ke saath aisa kyun hua' and he is a photographer who keeps on clicking her and making collage of her pics on the wall from 2:08 to 2:26 & 2:37 to 2:50, and then shares his pain with his lover in line 'me in aankhon se kuch na dekhunga, mera manzar toh bas aap hain' in the sense that, she can't see herself how gorgeous she is and the world around her, so Himesh says that he also doesn't care about the world except her as she is gorgeous from her inner self whereby wonderful thoughts surround her despite the darkened visual space, and to find a place in her heart is his final destination whereby he can share all the feelings and emotional journey with her while giving her and enjoying with her all the beautiful aspects in her life which can be enhanced as much as possible.

Aap Se Mausiiquii - Pics

Pics

His facial expression showing unconditional concern for her from 0:28 to 0:29

His astonished facial expression from 1:59 to 2:01 is cute and adorable

 

Mere Andhar Toh, Bas Aap Hain...she plays violin, but remains in his thoughts

He finally decides 'that's it' in terms of the wait being over and now it is time to express his love and let the girl know about it

personal delivery of card by hand...no courier, no kabutar jaa jaa jaa

dil agar sacha ho toh rab karde sab setting

pyaar hua muqamal

great ambience

End of pics.

Menu Kehn De

Himesh's current obession with piano intro continues as the song begins with grand piano.

The wicked new age techno riffs in unplugged mode that join in  from 0:07 to 0:14 give bit of sike to listener, play in a constant repetitive loop throughout the song.

The likeable feel good guitar theme riffs from 0:26 to 0:38 & 0:58 to 1:10 are inspired from the raga theme piece in DIL DIL from ISHQ HAI TUMSE.

The simple well structured composition pattern sounds Deja-Vu but still likeable and it is freeflowing, which is enhanced by the freeflowing rhythmic beat from 0:38 onwards.

Wicked quick beat skip effect at 0:46

Himesh's intro mukhda lines, HAR WAQT DIL MEIN TERI MAUJUDGI HAI, TU HI MOHABBAT MERI TU HI MAUSIIQUII HAI along with underlying rhythmic beat from 0:47 to 0:58 gives a sense of calming effect and chill pill effect to the listener.

Subtle phone line tone joins in from 1:11 onwards and plays in the backdrop throughout the song. It has an awesome quick 5 key repetitive varying loop pattern.

Himesh's line, DEE (subtle feel singing) at 1:28 & 1:35

Best part in song is Himesh's off-da-hook singing in lines, AAKHIYON SE NADIYAN SAARI AAJ (off-da-hook halke se feel singing) BEHN DE from 1:38 to 1:43 that win over  the listener, followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern and wicked techno riff from 1:44 to 1:46 in unplugged mode.

Between mukhda & stanza, a mouth organ piece plays from 2:00 to 2:12 followed by feel good guitar theme riffs from 2:13 to 2:25

Stanza

The simple well structured composition pattern sounds Deja-Vu but still likeable and it is freeflowing, which is enhanced by the freeflowing rhythmic beat whereby the song continues to flow on nicely.

Best stanza line is Himesh's line, BAS TU HI REH GAYI YAAR (awesome singing with awesome profound Sufi Rwak twist) from 3:01 to 3:04 followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern and wicked techno riff from 3:05 to 3:08 in unplugged mode.

2nd stanza

Himesh sings with more subtle feel vocals from 3:47 to 4:13  in a shaayarana Ghazal based andaaz.

Best stanza line is Himesh's line, CHAHE KITNE SHIKWE HAIN, CHAHE KITNE BHI GILE HAIN (awesome singing gets listeners into da zone and makes them feel it) from 4:16 to 4:22, REHNA HAI TERE SAATH (awesome naarebaazi slogan based singing with awesome profound Sufi Rwak twist) from 4:23 to 4:27 followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern and wicked techno riff from 4:28 to 4:29 in unplugged mode. The portion from 4:16 to 4:29 is the best part from both stanzas.

The mouth organ piece is back from 3:43 to 3:56 followed by feel guitar theme guitar riffs from 3:57 to 4:09 and Wicked new age tecnho riffs that close off the song in unplugged mode.

Highlights of this song:

1. Himesh's heartfelt vocals.

2. Underlying freeflowing rhythmic beat, wicked new age techno riffs, feel good guitar theme riffs, subtle phone line tone with awesome quick 5 key repetitive varying loop pattern, mouth organ piece, combo of off-da-hook whoosh effect and off-da-hook quick hit pattern.

Menu Kehn De Music Video

The music video is shot well with aerial view of grand locales at start, and on top of mountain cliff from 2:00 to 2:10 which is very gutsy.

The female model Alankrita Sahai seems innocent at 1:37 & 3:42

She seems to be in kashmakash at 1:43 & 2:52 due to the state of a failing relationship.

She seems to be in agitated state at 2:21

Her dialogue delivery is great. First she calmly explains her dilemma in dialogue Tumhare Paas Mere Liye Koi Waqt Nahi Hai, You Don't Have Any Time For Our Relationship from 2:15 to 2:20 and then vents out her anger and frustration in dialogue Isi Liye Accha Yahi Hoga Ki Hum Dono Alag Ho Jaaye from 2:21 to 2:23 but while taking siskiyaan in a cute adorable andaaz.

But the video has a happy ending with Himesh putting the engagement ring on the girl's finger, kissing and hugging her, and eliminating her kashmakash bhavnaen at last after uncertain turbulent state of affairs in their relationship.

Himesh needs to work on his dialogue delivery because the way he says the dialogue JAISE TUMHARI MARZI in super bazz vocals sounds robotic. He should work on his intonation and bring variations in it, and also deliver filmy dialogues in a normal way like how he talks in interviews, rather than delivering one liners in an artificial drunken state.

The concept of music video is picturized in a cute adorable way in terms of how the narrative unfolds which makes the viewer smile. There have been happy endings in the first two music videos.

Tonight

The song begins with a cult wicked comical naughty Bansuri piece that tries to whisper something in non comprehendo Alienish lingo until 0:23 and makes the listener smile. This is an unconventional out-of-the-box thinking in terms of starting arrangement.

The Rwakin semi plugged beat along with fluctuating bazz sound kicks in from 0:14 onwards to buildup the song.

The Rwakin kickass free flowing beat kicks in from 0:24 onwards along with underlying fluctuating bazz sound.

Bansuri theme piece joins in from 0:24 to 0:42

Off-da-hook beat effect at 0:25, 0:27, 0:30, 0:32 and so on.

Himesh enjoys his stint behind the mic.

He sings the simple free flowing lines from 0:43 to 1:01 in middle octave whereby the mixing sounds good.

The start stop effect at 0:53 & 0:56 gives great intermittent effect.

Himesh mixes his Sufi Rwak with Arabic to make a 'Sufi Rwak Arabian' combo in the high pitched mukhda hook line from 1:01 to 1:19 whereby his Arabian diction is 'Spot On' along with great khanaak in vocals.

Himesh's line, MAUSIIQUII MERI TU (awesome Sufi Rwak slogan based singing) from 1:18 to 1:19

The Rwakin semi plugged part from 1:16 to 1:19 gives great intermittent effect and gets listener into da zone.

Between mukhda & 1st stanza, the cult wicked non comprehendo Alienish Bansuri piece is back, whereby the buildup with semi plugged beat from 1:39 to 1:43 followed by full on beat from 1:44 to 1:53 makes proceedings rwakin. The semi plugged mode from 1:53 to 2:02 builds up towards the stanza.     

1st stanza

The composition from 2:03 to 2:30 comes from Himesh's Sufi Rwak stable.

Himesh sings the lines in middle octave from 2:03 to 2:21 with vintage Sufi Rwak slogan based naarebazi vocals, with emphasis on lines ISHQ WALEHAANA, SUFIYAANA.

The semi plugged quick Waltz hits from 2:03 to 2:11 is great stanza buildup, followed by full on Rwakin kickass beat from 2:12 onwards that gets listener back to feel da groove along with the vocals.

The lines from 2:21 to 2:30 are hard core complex Sufi Rwak, whereby Himesh's awesome intense modulated vocals catch the Sufi Rwak pulse of listener.

Off-da-hook techno bazz sound at 2:30

Between 1st & 2nd stanza, a non comprehendo comical Alienish mischievious female seductive voice that makes the listener smile from 3:27 to 3:36 as if it is an invitation to quietly come to a 'khali khopcha / silent corner' of the club. The buildup with semi plugged beat from 3:27 to 3:31 followed by full on beat from 3:31 to 3:36 makes proceedings rwakin. The semi plugged mode from 3:37 to 3:41 builds up towards the stanza.   

2nd stanza

The composition from 3:42 to 4:09 comes from Himesh's Sufi Rwak stable.

Himesh sings the lines in middle octave from 3:42 to 4:00 in a slight intoxicated state with vintage Sufi Rwak slogan based naarebazi vocals, with emphasis on lines KAHAANI, ASMAANI.

The semi plugged quick Waltz hits from 3:42 to 3:50 is great stanza buildup, followed by full on Rwakin kickass beat from 3:50 onwards that gets listener back to feel da groove along with the vocals.

The lines from 4:00 to 4:09 are hard core complex Sufi Rwak, whereby Himesh's awesome intense modulated vocals catch the Sufi Rwak pulse of listener.

Off-da-hook techno bazz sound at 4:09

The song ends with off-da-hook beat effect in semi plugged mode from 4:57 onwards that catches the listener's pulse.

Highlights of this song:

1. Himesh's middle octave vocals along with spot on Arabic lingo in high pitched mukhda hookline.

2. Rwakin kickass freeflowing beat and cult wicked comical naughty non comprehendo Alienish Bansuri piece.

3. The intermittent semi plugged build up throughout the song followed by full on beat.

Tonight Music Video

Alankrita Sahai did good job but someone like a Big boss contestant Lopamudra Raut could be quite hot and steamy for this music video. Ideally a fresh female face and new female model in every video will ensure more impact and views, even Aap Ka Surroor had no repetition of girls. Himesh also launches a male model in this video, who protrays the wicked boyfriend.

The cutest part of the video is when Alankrita makes a fist to cutely punch her boyfriend, after he pushes Himesh.

Himesh feelin da beat.

Female DJ going wild and crazy

The only drawback is that this was a perfect opportunity for Himesh to dance, but again that same old DJ wala concept added no novelty in the video. When Himesh can do so many new things like singing, acting, writing lyrics and trying action sequences then why can't he learn dancing, and the chorepgrapher can give him some easy simple steps for a start and it can add something new to a music video which is basically a dance track and party song.

So Much In Love

The song begins with an extended continuous loud vibrant metallic guitar piece which sounds a bit pepetrative and harsh, joined in by a funky guitar tune from 0:15 onwards.

The repetitive mukhda hook line SO MUCH IN LOVE BABY builds up the song from 0:30 onwards.

The peppy party theme piece joins in from 1:00 onwards along with semi plugged whoosh effect, and a semi plugged beat skip pattern from 1:07 to 1:14 that catches the listener's pulse.

The vibrant House mix beat joins in from 1:15 onwards along with intermittent fluctuating groovy sound.

Himesh is in his full element as as singer.

The intro mukhda line from 1:29 to 1:43 is off-da-hook catchy and well structured, with the lines SUBAH KI...RAUNAKEIN...SIYAHIYAN (off-da-hook Sufi Rwak desperation plea emphasis twist)...SHAAM KI...AAYATEIN BAD RAHI (Sufi Rwak composition), SAB TERE NAAM KI (pre ABA composition, off-da-hook halke se feel singing wins over listener), along with off-da-hook fluctuating groovy sound and trance effect that causes tremendous build up.

Off-da-hook new age drum roll beats from 1:42 to 1:44 gives perfect kickstart to mukhda.

Himesh enjoys his stint behind the mic with carefree cheesy vocals from 1:44 onwards, whereby the listener gets into da groove along with the full on underlying House mix beat.

His lines, JAAGU MEIN SARI RAAT MEIN YAADON MEIN TUMHAARI, JANNAT DIKHE MUJHE AANKHON MEIN TUMHARI from 1:45 to 1:52 take the listener into a state of trance and give a 'middle of nowhere' feeling whereby the listeners imagine themselves in a far away unknown secluded exotic rugged mountaneous area (the same feeling with YA ALI and AASHIQANA HAI DIL).

The repetitive mukhda hook SO MUCH IN LOVE has an easy going vibe to it.

Between mukhda & 1st stanza, the peppy party theme is back from 2:10 to 2:25

1st stanza

The composition pattern is unconventional, faced paced and quite effective.

The semi plugged vibrant trance tune gives great build up from 2:25 onwards followed by full on underlying House mix beat from 2:33 onwards

Himesh's vocals have kashish in them, and a slight tinge of Auto Tune adds sugar coating polish to them.

His lines, HAR IK PAL (off-da-hook fulltu high pitched singing gets to listener) from 2:30 to 2:31, BAS TERA HI (off-da-hook fulltu high pitched singing gets to listener) from 2:38 to 2:39, WO-OO-OO-OO (off-da-hook fulltu high pitched alaap gets to listener) from 2:46 to 2:47

Off-da-hook kick@$$ drumroll hits from 2:57 to 2:58

Between 1st & 2nd stanza, an edgy iffy Electronica tune plays in semi plugged mode from 3:28 to 3:35 joined in by underlying full on House mix beat from 3:36 onwards.

2nd stanza

The composition pattern is unconventional, faced paced and quite effective.

The semi plugged vibrant trance tune gives great build up from 3:44 onwards followed by full on underlying House mix beat from 2:25 onwards

Himesh's vocals have kashish in them, and a slight tinge of Auto Tune adds sugar coating polish to them.

His lines, CHEHRE PE (off-da-hook fulltu high pitched singing gets to listener) from 3:48 to 3:49, CHAND BADALON MEIN (off-da-hook fulltu high pitched singing gets to listener) from 3:55 to 3:56, WO-OO-OO-OO (off-da-hook fulltu high pitched alaap gets to listener) from 4:04 to 4:05

Rwakin Auto Tune slang effect in lines from 3:58 to 4:04

Highlights of this song

1. Himesh's Rwakin kashish vocals sugar coated with Auto Tune effect.

2. Underlying fullon vibrant electric House Mix beat.

3. Peppy party theme piece, off-da-hook new age drum roll beats, intermittent groovy sound, and edgy iffy Electronica tune in between 2nd stanza gap.

So Much In Love Music Video

It is the 'most cutest and adorable' music video featuring Himesh till date.

The cute faces that Alankrita Sahai makes from 1:32 to 1:42 are so adorable, kya kamsin aadayein hai.

Great nazaara of Bullet train from 0:38 to 0:40

Great nazaara of aerial view of spectacular fireworks from 2:10

Great nazaara aerial view of seaside mountaneous terrain from 1:21 to 1:24, its where the listeners imagine themselves during Himesh's lines, JAAGU MEIN SARI RAAT MEIN YAADON MEIN TUMHAARI, JANNAT DIKHE MUJHE AANKHON MEIN TUMHARI from 1:45 to 1:52

The concept of a House Party going out outside Himesh's actual house is great. Amazing idea of having a massive House party outside his own house.

He can't believe that a House Party is going on outside his house.

After his double humshakal winks at him and takes the girl, he is astonished

Time to make a gameplan and execute it with utmost concentration

End of Pics

Couple Photo

The song begins with feel good guitar riffs along with feel good whistle theme piece, joined in by subtle raw tabla hits from 0:09 onwards.

The interior peppy theme piece joins in from 0:16 onwards.

Mast bindaas tapori beat kicks in from 1:22 onwards.

Himesh sings with cheeky vocals from 0:27 to 0:34 on a simple composition pattern, followed by fulltu high pitch from 0:34 to 0:38 that is a high pitched variation of line KAHIN NIKAL NA JAAYE, KAHIN NIKAL NA JAAYE in CHALAO NA NAINO SE from BOL BACHCHAN.

Horse tapping effect from 0:27 to 0:38 & 0:58 to 1:10 builds up Himesh's and Neha's lines, after which the song is in its full element from 0:48 & 1:20 onwards onwards upon the arrival of mast tapori beat with whistles.

The quick heavy drum hits at 0:40, 0:42, 1:12 & 1:14 were also used in CHALAO NA NAINO SE from BOL BACHCHAN.

The hook line from 0:48 to 0:58 & 1:10 to 1:30 has a simple composition pattern with a Deja-Vu feel, but the lyrics will interest young couple jodis.

Neha Kakkar's selection is ideal as she sings with bindass carefree attitude.

Her lines, COUPLE PHOTO (mast bindaas vocals) from 1:10 to 1:13

Between mukhda & 1st stanza, the peppy interior theme piece plays.

1st stanza

Himesh and Neha sing with cheesy vocals on a simple and deja-vu composition pattern from 1:49 to 2:10, along with horse tapping effect.

Between 1st & 2nd stanza, feel good whistle theme piece is back from 2:35 to 2:50 whereby the twist at 0:41 & 2:49 gets to and amuses the listener, followed by peppy interior theme piece.

2nd stanza

Himesh and Neha sing with cheesy vocals on a simple and deja-vu composition pattern from 3:01 to 3:23, along with horse tapping effect.

Highlights of this song

1. Himesh's and Neha's cheesy vocals.

2. Mast bindaas tapori beat, feel good guitar strumming, feel good whistle theme piece, peppy interior theme piece and horse tapping effect.

Trippy

The song begins with an off-da-hook cult build up with grand thump effect, wicked groovy Lead tune pattern and quick semi plugged Waltz beat until 0:06, joined in by off-da-hook underlying bazz sound and off-da-hook loopy beat effect until 0:10 that makes the listeners feel it and slowly get into da groove as if they are swaying on top of a camel, and makes them feel it, along with distorted desperation plea Arabian alaap from 0:06 onwards along with an off-da-hook subtle beat skip pattern until 0:10

Off-da-hook wicked quick belly shake effect at 0:11

The repetitive mukhda lines from 0:23 to 0:40 are basically slogans in simple notes and they have been sung with swag. Despite being simple, the composition is effective.

Since the mood is in a Trippy state, the lyrics imply that the lovers don't know what they really are saying and are blabbering anything just for da sake of it, whilst having a good time.

Himesh's line, JHOOM from 0:46 to 0:51 is DJ manipulated by gradually increasing higher octaves along with accelerating beats, followed by wicked bazz funky sound from 0:52 to 1:02 to give it a Dubstep mash up.

The line DJ BARA TUM, PUMP UP THE VOLUME is kind of hilarious.

Off-da-hook combo of wicked groovy tune and semi plugged Waltz beat along with grand sound effect in backdrop from 1:15 onwards, joined in by distorted desperation plea Arabian alaap.

Neha is the ideal choice for such a song.  

Neha's line, PEHLE BHI CHAURAALA MARA, BOBBY SE PEHLE AWARA (naughty mischievous carefree vocals) from 1:38 to 1:42

Good build up by accelerating beats along with Neha's lines NASHE KOH BHI AAYE NASHA, AAJ AISE JHOOM from 1:42 to 1:49, followed by wicked bazz funky sound from 1:49 to 2:00 to give it a Dubstep mash up.

From 2:01 onwards, it appears as if the people in the club are starting and planning to become rowdy.

Between mukhda & 1st stanza, the distorted desperation plea Arabian alaap along with grand pot echo effect from 2:13 to 2:18 is joined in by off-da-hook beat effect and horn from 2:19 to 2:22 that depicts a Kabeela setting and gets the listener into da zone as if they are back again swaying on a camel, followed by wicked naughty cheeky seductive yell and quick belly shake effect 2:22 to 2:23 that messes with the mind, bhaut dimag kharaab karta hai.

1st stanza

Himesh - the composer goes old age 70-80s era for the compositional pattern of lines from 2:24 to 2:42

Auto Tune twist in Himesh's line GUSTHAKIYAN NA HO KAM from 2:28 to 2:29 gives a drunk tone effect.

Himesh's line, KO-OO-OO-OO (prolonged descending twist) from 2:42 to 2:44 is inspired from the line  in AANKH VICH CHEHRA from APNE.

With the arrival of the additional beat from 4:15 onwards, it appears that all hell has broken loose in the club whereby people have gone totally rowdy and throwing chairs around while swinging uncontrollably and senselessly under the intoxication of drinks, whereby the remaining sane people are trying to get out and escape from the club as soon as possible before matters inside get any more worse and out of control.

Highlights of this song:

1. Himesh's and Neha's bindaas carefree vocals.

2. Off-da-hook cult build up with grand thump effect, wicked groovy Lead tune pattern and quick semi plugged Waltz beat until 0:06, joined in by off-da-hook underlying bazz sound and off-da-hook loopy beat effect until 0:10

3. Wicked quick belly shake effect

4. Off-da-hook combo of wicked groovy tune and semi plugged Waltz beat from 1:15 onwards, joined in by distorted desperation plea Arabian alaap.

5. Distorted desperation plea Arabian alaap along with grand pot echo effect from 2:13 to 2:18 joined in by off-da-hook beat effect and horn from 2:19 to 2:22 to depict a Kabeela setting, followed by wicked naughty cheeky seductive yell and quick belly shake effect 2:22 to 2:23 that messes with the mind in between 2nd stanza gap.

Every Night And Day

The song begins with a repetitive fluctuating groovy tune in unplugged mode.

Majestic Angelic airy breezy tune joins in from 0:06 onwards to tremendously build up the intro.

Himesh is in Top form as a Sufi Rwak singer. His vocals have tremendous kashish in them.

His intro mukhda lines from 0:18 onwards build up the song tremendously.

His lines, RAHE TU (off-da-hook sudden fulltu emphasis voice rise) at 0:30, RUBARU-UU-UU (profound descending Sufi Rwak twist) from 0:32 to 0:34

Off-da-hook quick beat effect at 0:33 & 0:37 catches the listeners pulse.

The whoosh wind effect from 0:34 to 0:38 enhances the build up.

The new age vibrant trance sound from 0:38 & 1:27 onwards gives great accompanyment to  the hook line, in terms of enhancing the overall effectiveness.

The mukhda hook EVERY NIGHT JUST ME AND YOU is simple, well structured and effectively easy going along with da groove of the underlying new age rhythmic Waltz beat, whereby off-da-hook beat pattern at 0:39, 0:42, 0:45, 0:49 and so on catches the listeners pulse.

Lulia sings her mukhda portion with mystic vocals.

Between mukhda & 1st stanza, off-da-hook quick fascinating seamless transitional stop start gap between preceeding full on arrangement and unplugged Majestic Angelic airy breezy tune at 1:45 catches the listener's pulse, along with catchy groovy tune pattern that gives great build up rhythm towards the stanza and slowly gets listener into da groove. The quick skip pattern at 1:49 & 1:55 followed by guitar riff at 1:50 & 1:56 catches the listener's pulse.

1st stanza

The composition pattern of Lulia Vantur's lines in semi plugged mode from 1:57 to 2:19 along with repetitive groovy tune pattern is the build up portion, she sings with Mystic vocals.  

Himesh is back to Rwak it from 2:20 onwards with his off-da-hook sharp knife edge Sufi Rwak Kashish vocals along with combo of underlying new age rhythmic Waltz beat with 'perfectly ideal best possible' off-da-hook rhythmic beat pattern to enhance the vocal impact and to deliver the KILL effect and KILLER punch that gets listeners into da zone and makes them completely feel it after Lulia Vantur's build up lines.

Off-da-hook pattern at 2:21, 2;24, 2:27 & 2:30 in underlying beat catches the listener's pulse.

Off-da-hook quick beat effect at 2:35 & 2:40 catches the listeners pulse.

The new age vibrant trance sound from 2:40 onwards gives great accompanyment to the hook line, in terms of enhancing the overall effectiveness.

Between 1st & 2nd stanza, off-da-hook quick fascinating seamless transitional stop start gap between preceeding full on arrangement and combo of bells and funky tune in unplugged mode at 2:58 that catches the listener's pulse.  

2nd stanza

The composition pattern of Lulia Vantur's lines in semi plugged mode from 1:57 to 3:32 along with repetitive groovy tune pattern is the build up portion, she sings with Mystic vocals.

Himesh is back to Rwak it from 3:33 onwards with his off-da-hook sharp knife edge Sufi Rwak Kashish vocals along with combo of underlying new age rhythmic Waltz beat with 'perfectly ideal best possible' off-da-hook rhythmic beat pattern to enhance the vocal impact and to deliver the KILL effect and KILLER punch that gets listeners into da zone and makes them completely feel it after Lulia Vantur's build up lines.

Off-da-hook pattern at 3:34, 3:37, 3:39 & 3:42 in underlying beat catches the listener's pulse.

Off-da-hook quick beat effect at 3:47 & 3:52

The new age vibrant trance sound from 3:53 onwards gives great accompanyment to the hook line, in terms of enhancing the overall effectiveness.

Himesh's line, RAHE TU (off-da-hook sudden fulltu emphasis voice rise) at 4:34

The song ends from 5:00 onwards in the same majestic way in which it started.

Highlights of this song:

1. Himesh's sharp knife edged Sufi Rwak vocals with Kashish.

2. Lulia Vantur's mystic vocals.

3. Underlying new age rhythmic Waltz beat with off-da-hook perfectly ideal best possible beat pattern for Himesh's mukhda portion.

4. Majestic Angelic airy breezy intro tune, repetitive groovy tune pattern, new age vibrant trance sound, off-da-hook quick intermittent beat effect, whoosh wind effect, combo of bells and funky tune in between 2nd stanza gap.

In the music video, why did they go with remix version instead of original, because the original version was better choice but they wanted to give it a Hip Hop Club feel for the music video. The music video is nothing new, it is the same usual stereotype run of the mill stuff where Himesh is lip singing. Perhaps he could have attempted to dance on some very basic simple Hip Hop steps to have some innovation. The original song should have been used in the music video, not the remix.

Soni

The song begins and builds up tremendously with Himesh's subtle feel vocals in Radio voice along with magestic intermittent subtle guitar riffs in unplugged mode.

The laidback rhythmic beat kicks in from 0:25 onwards.

Himesh's line, MENU SONEYA-AAA (off-da-hook profound subtle feel twist) from 0:33 to 0:34 & 0:46 to 0:47 followed by History 3 key tune from 0:34 to 0:35 & 0:47 to 0:48 in overall context.

Himesh's line, TERE SIWAH MUJHME KUCH (typical unique HR melody, awesome lyric) BAAKI NAHI from 0:36 to 0:38 & 0:48 to 0:50 is inspired from stanza notes of PARDESI from KAHIN PYAAR NA HO JAAYE.

Himesh's line, AAKHIYAN DE (Sufi Rwak naarebaazi slogan based singing) CHANNAV SE, DIL DE (off-da-hook Sufi Rwak naarebaazi slogan based singing catches listener's pulse) PUNJAB SE (awesome lyric, konnekts with listener) from 0:54 to 1:00 with terrific continuous background scale.

Himesh's line, SONI MERI SONI TU (typical unique HR melody) from 1:01 to 1:02 followed by History 3 key tune from 1:02 to 1:03 in overall context.

Emotional fee raga tune from 1:04 to 1:06

Terrific background scale behind Himesh's lines from 1:09 to 1:19

Himesh goes fulltu high pitched in lines OH SONIYE 1:21 to 1:23 followed by prolonged Sufi Rwak descending twist in line OH SONIYE-EE-EE-EE-EE from 1:24 to 1:28 that gives completeness effect to preceeding line.

The unplugged part at 1:28 followed by 3 laidback beats from 1:29 to 1:31 along with vocals catches the listener's pulse.

Himesh sings the well structured catchy extended mukhda line CHAL MERE NAAL, CHAL CHAL MERE NAAL ME HU TERA MAHIBAL SONIYE, ME HU TERE NIHAAL MERI BAAT NA TAAL ME HU TERA MAHIBAAL SONIYE with middle octave vocals that strikes a chord and gets the listener into the groove. The rhythmic beat and terrific raaga tune from 1:33 to 1:34 & 1:45 to 1:46 gives an Authentic Earthly 'mitti ki khushboo' feel as if the nomad lover is on a journey mission to find and meet his beloved one.

Between mukhda & 1st stanza, feel good guitar riffs from 1:53 to 2:04 that have slight traces of feel good guitar theme riffs in Tere Naam Title Trax.

1st stanza

The gradually descending composition pattern in a loop from 2:05 to 2:17 is from pre ABA school of music.

Himesh's lines in his radio voice, YEH SUNA (awesome subtle feel twist) from 2:05 to 2:06, THA KAHIN (awesome subtle quick profound twist) from 2:07 to 2:08 have a gradually descending loop with intermittent start stop pause, followed by line ISHQ HAI WOH ZEHER (gives completeness effect) from 2:08 to 2:11 whereby the compositional pattern from 2:05 to 2:17 comes from pre ABA school of music.

Himesh's lines in his Radio voice, HAI SHAFA (awesome subtle feel twist) from 2:12 to 2:13, HAR DAWA (awesome subtle quick profound twist) from 2:13 to 2:14 have a gradually descending loop with intermittent start stop pause, followed by line JISPE HAI BEASAR  (gives completeness effect) from 2:14 to 2:17 whereby the compositional pattern from 2:05 to 2:17 comes from pre ABA school of music.

Himesh goes into Ghazal shayaraana based mode with his lower bazz octave lines in thehraav mode in well structured composition pattern, DARD YA KARAAR MAINE SOCHA HI (super deep bazz impact octave) NAHI (higher note), ACHA BURA YAAR MAINE SOCHA HI (super deep bazz impact octave) NAHI (lower note, really appeals) from 2:18 to 2:30

The background tune gives great scale to his vocals.

Between 1st & 2nd stanza, a feel good guitar piece from 3:43 to 4:06 is joined in by continuous tune from 3:56 onwards.

2nd stanza

Himesh's lines in his Radio voice, RAB KI HAI (awesome subtle halke se feel twist) from 4:07 to 4:08, TU ATA (awesome subtle quick profound twist) from 4:08 to 4:09 have a gradually descending loop with intermittent start stop pause, followed by line TU KHUDA KA KARAM (gives completeness effect) from 4:10 to 4:13 whereby the compositional pattern from 2:05 to 2:17 comes from pre ABA school of music.

Himesh's lines in his Radio voice, TERE BIN (awesome subtle feel twist) from 4:13 to 4:14, MEIN (awesome note variation) JIYU (awesome subtle quick profound twist) from 4:15 to 4:16 have a gradually descending loop with intermittent start stop pause, followed by line TOH MUJHE HAI KASAM (gives completeness effect) from 2:14 to 2:17 whereby the compositional pattern from 2:05 to 2:17 comes from pre ABA school of music.

Himesh goes into Ghazal shayaraana based mode with his lower bazz octave lines in thehraav mode in well structured composition pattern, AAYATEIN SE AANKHEN TERI PARA MEIN KARU (higher note), TERE NAAM (cute adorable slight lag) KI MALA JAPA MEIN KARU (lower note, really appeals) from 4:21 to 4:32

The background tune gives great scale to his vocals.

Highlights of this song:

1. Himesh's hearfelt vocals with a mix of high pitched and naazebazi slogan based singing and subtle feel Radio singing.

2. Underlying laidback rhythmic beat.

3. Emotional feel raga tunes, feel good guitar riffs in between stanza gaps and History 3 key tune.

Thuglife

The song begins with a loud bazz DJ voice followed by splash effect at 0:02

The Cabana styled feel good peppy theme piece with a quick fascinating pattern joins in from 0:02 onwards in semi plugged mode, along with claps from 0:10 onwards.

Neha Kakkar's jovial vocals from 0:19 to 0:27 along with quick subtle drum skips build up the song.

The best line in song is DJ NE DEKHO FULL VOLUME KAR DIYA JEE, HO JAA TU HO JAA TU INSPIRE PIYA JI from 0:28 & 1:08 onwards, followed by gradually building Trance tune from 0:29 & 1:11 onwards along with accelerating beats until 0:36 & 1:16

Himesh's mukhda hook line HO JAYE HO JAYE JI DANCE FLOOR PE DARING BAAZI from 1:16 to  1:29 is simple, well structured with a Deja-vu feel, but still actually likeable as it has a feel good groove.

After hearing the Bazooka horn in the RnB scene, Himesh also decides to use it in the mukhda hook at 0:40

The combo of feel good tune, rhythmic beat and DJ vocals THROW YOUR HANDS IN THE AIR from 0:50 to 0:58 & 1:29 to 1:38 gets the listener into a likeable swaying groove as if a beach party is going on.

Between mukhda & 1st stanza, the DJs in da house try to encourage the mood.

1st stanza

Neha sings the simple deja vu compositional pattern with cheesy vocals with pots and pans effect in the backdrop.

Between 1st & 2nd stanza, the DJs in da house try to encourage the mood.

2nd stanza

Neha sings the simple deja vu compositional pattern with cheesy vocals pots and pans effect in the backdrop.

The semi plugged part with bazooka horn effect from 3:52 to 3:54 gives good intermittent effect.

Highlights of this song:

1. Himesh's bindaas vocals and Neha's cheeky vocals.

2. Combo of feel good tune, rhythmic beat and DJ vocals THROW YOUR HANDS IN THE AIR from 0:50 to 0:58 & 1:29 to 1:38 that gets the listener into a likeable swaying groove.

Teri Arziyaan

The song begins with emotional sarangi piece in unplugged mode until 0:25 followed by emotional sarangi theme piece from 0:26 to 0:45

The song builds up tremendously from 0:46 onwards with the arrival of guitar riffs and raw matka hit pattern from 0:46 onwards that catches the listener's pulse at 0:49, 0:52 and so on.

Catchy theme piece joins in from 0:53 to 1:09, with off-da-hook halke se feel instrumental twist from 1:04 to 1:06

Himesh sings the intro lines KABHI HO SAKA NA ME, TERE ISHQ SE RIHAA (awesome heartfelt lyrics) from 1:09 to 1:16 with high pitched dard bhare Sufi Rwak vocals with tadap, followed by subtle feel Radio voice from TERE BAAD HAR GHADI TERE SAATH (complex raag based composition) ME RAHAA (dejected emotional feel vocals) from 1:17 to 1:25

The matka hit pattern from 1:24 to 1:27 catches the listener's pulse.

The mukhda hook TERE NAAM SE MERI AARZIYAN, TERI AARZIYAN is simple yet catchy in composition pattern followed by TU NAHI JAHAAN, TU WAHAAN BHI SAATH HAI gives the completeness effect.

Off-da-hook hard drum beat pattern joins in from 1:28 onwards and gives great rhythmic sync to Himesh's vocals, and this combo catches the listener's pulse.

Himesh sings with earnst honesty and sincerety to depict the tadap and desperation feel  and hopelessness dejection of the lover. Bhaut shidat se gaaya hai.

His lines, MERI AARZIYAAN (terrific desperation feel emphasis fariyaad twist, wins over listener) from 1:30 to 1:31, MARZIYAAN (terrific desperation feel emphasis fariyaad twist, wins over listener)from 1:34 to 1:35, WAHAAN (awesome desperation feel emphasis twist, wins over listener) at 1:37, TERE NAAM SE (awesome note variation) at 1:42

WAADA TENU styled quick tabla hits arrive from 1:58 onwards whereby Himesh enters the Qawali mode with his intense high pitched vocals MUJHE HAI IF TU from 1:59 to 2:07 followed by subtle feel vocals in line YAAD HAI from 2:08 to 2:11 that gives completeness effect.

Between mukhda & 1st stanza, the catchy theme piece is back from 2:12 to 2:28, with off-da-hook halke se feel instrumental twist from 2:24 to 2:25

1st stanza

Himesh continues with his journey of dard bhari singing on a compositon pattern from 2:29 to 2:50 with random twists that signifies a lover's mountaneous path full of hurdles and obstacles along the way.

Himesh's lines, TERI-IIIAAN (profound Sufi Rwak emphasis twist) at 2:34, TERE-EEE (profound Sufi Rwak emphasis twist) at 2:42

Between 1st & 2nd stanza, emotional feel raga tune from 3:55 to 4:09 is joined in by a catchy emotional feel tune from 4:10 to 4:25

2nd stanza

Himesh continues with his journey of dard bhari singing on a compositon pattern from 4:25 to 4:47 with random twists that signifies a lover's mountaneous path full of hurdles and obstacles along the way.

Himesh's lines, HAZARO-OON (profound Sufi Rwak emphasis twist) at 4:31, KARLU-UUU (profound Sufi Rwak emphasis twist) at 4:39

Highlights of this song:

1. Himesh's earnst sincere heartfelt dard bhare vocals with tadap.

2. Underlying heavy drum hit pattern and raw matka hit pattern that catches the listener's pulse.

3. Intro build up with guitar riffs, emotional feel raga tunes, catchy theme piece, Waada Tenu styled fast tabla hit pattern and catchy emotional feel tune in between 2nd stanza gap.

My Picks

1. Aap Se Mausiiquii, Soni, Every Night and Day & So Much In Love - TIE

Aap Se Mausiiquii

This song can be termed more of an Unplugged version and that is what it is in essence. The importance and highlight has been given to Himesh's vocals with echo effect which are at the forefront, along with accompanying minimalistic underlying beat and arrangement albeit with instruments that give a grandeur effect in the background that progress the overall slow tempo and heartfelt impact of the song. This song will take time to grow upon the listeners with repeat hears, but will eventually grow big time upon them with a gradual process. Ofcourse, this song could have been made more catchy with a balanced mix of vocal and arrangements, whereby arrangements could be more rhythmic with a proper main beat and along with slightly faster tempo. But then this would have taken away the very essence of the song and the story that it wanted to 'bayaan', in terms of the whole heartfelt feelings and emotions that were expressed with the slow unplugged tempo.

Composition wise it is an unconventional tune but still a Top Tune and Himesh has sung it with heartfelt vocals. The binding chords in the mukhda are Himesh's line, MAUSIQUII (awesome composition note) from 1:13 to 1:16 which is the intermediate connecting line that gives appeal to the whole mukhda hook, and Himesh's line, AAP SE (off-da-hook fulltu vocals, off-da-hook compositional notes whereby mukhda reaches it peak) from 1:16 to 1:19 to fully express underlying inner feelings of lover. In terms of orchestration, the highlights are constant repetitive piano hits throughout the song that depict a sense of time bound urgency, especially the piano hits along with Himesh's intro mukhda lines, Halka Halka Sa, Hai Noor Dil Mein, Saanson Mein Bhi Hai Aahistigui, Beikthari Yeh Keh Rahi Hai, Meri Toh Duniya Bas Aap Hi which cause tremendous build up of the song, the painful emotional violin piece from 0:59 to 1:01 & 3:57 to 3:59, the likeable piano piece in between stanza gap from 2:30 to 2:38 that gives a sense of thehraav and the intermittent grand thunder effect that gives a grandeur feel.

This song could have been more appealing and catchier with the following two things. Firstly, if tempo was slightly faster along with a rhythmic beat (like how it was at Safaigiri awards 2016, even a similar rhythmic beat in Samjho Na Music Video and Aashiq Banaya Aapne Title Trax would be great fit, however repeating beats from other songs should be avoided). Samjho Na in the OST soundtrax is kind of an Unplugged version, but there is a full rhythmic beat in its video version from 0:19 onwards which takes the song to another level. Now imagine the tempo of Aap Se Mausiiquii along with the rhythmic beat in that music video and then what will be the overall effect. Secondly, if the mixing engineer could have lowered the dB decibels of Himesh's vocals for a better balanced mix so that the super high pitched lines SAANSON MEIN BHI HAIN, BEIKTHIYARI, MERI TOH DUNIYA, MERA MANZAR TOH, BAHAAR BAHAAR KE, MERE ANDHAR TOH wouldn't have sounded loud, penetrative and bit harsh (somewhat like Chichora Piya effect) but rather more pleasant. Better mixing of vocals or alternate mic recording could have been considered. With careful consideration and attention to these aspects the overall catchiness and pleasing appeal of the song would have been enhanced and optimized. In other words it is like saying, that this song had so much more potential i.e. with a faster tempo, rhythmic beat and better balanced mixing, this song could have been taken to another unbelievable higher level and to its fullest max potential. A faster rhythmic second alternate version with the abovementioned things could have been a great addition in the soundtrax.

Listening to this song at nite during bedtime with closed eyes gives a feel as if an Astronaut is listening to it whilst slowly spinning in outer space amongst stars and galaxy, the effect of this song is as if 'iska surroor dheere dheere se char ta hai'. This song comes more in the 'klassik' category rather than the 'instant catchy' category, and gutso to Himesh for having guts to open his album with such slow paced song. The pattern of underlying beat i.e. 2 subtle drum hit repetitive pattern is inspired by the underlying hit pattern in Tu Yaad Na Aaye Aisa Koi Din Nahi from Aap Ka Surroor (but the hits were heavier with faster tempo) and Himesh's line MAUSIIIIII (prolonged) - IIII (lower landing note) is inspired from the line FARIYAAAAAAD (prolonged) - AAD (lower landing note) from 3:02 to 3:07 in Saari Saari Raat from Khiladi 786.

After hearing the remix of DJ Chetas (which is quickly becoming my personal fav from all 4 remixes), it can be said that the scale is ideally perfect for remix versions, because in this remix the true catchiness of mukhda portion has come forward. The only thing the mixing engineer could have done is lowered the decibels dB of Himesh's vocals in original, to a point that how it is sounding in DJ Akbar Sami and DJ Chetas version, that's it. Otherwise the scale is fine, now the question is that can the title trax break into the all time Top 5 list, it has a chance because while it is an unconventional tune but still a Top Tune and one can't just instantly put any song in Top 5, it takes careful consideration over time.

It is one of Himesh's most soulful trax that melts and blows away the listener and touches the chords of heart, dil ki taaron koh chu jaata hai. Whether it is a 'Historic' and/or an 'Eternal' song remains to be seen over the period of time, as these two words are very big and need careful consideration before terming any song with them. Also, if it can make it into Himesh's all time Top 5 songs list remains to be seen. One tries to figure out in fascination that how Himesh conceptualized and made this tune. It is easy to make a conventional tune like Naam Hai Tera which is a Top Tune and it will be Chartbuster due to sure shot fixed formula which can be expected from Himesh, but to make an unconventional complex tune like this song and still make it a Top Tune with an unconventional formula and ensure the same Hit result is mind blowing achievement.

If the scale of the original version could have been 1 scale lower, like how he has sung it in lower scale in Safaigiri awards 2016, Chandigarh and Rajkot Concert, then the song could have been on another level. High pitch se utar ke middle octave mein impact zyada aata, as his middle octave vocals in live performances sound quite catchy. I scale lower could be perfect scale for song as it would have made song catchier, and original higher scale causes Himesh's pittch to be quite high, which takes away a bit from the overall listening experience in terms of long term repeat hears, despite being a top tune in terms of overall composition.

in comparison of the scale of Safaigiri awards 2016 and the scale in OST audio version, the scale in this performance is 'slightly lower' and this scale is 'catchier' for the song, as compared to the 'higher scale' in OST. Also, the tempo of song in this song is bit faster which makes it sound catchy.

Rajkot concert - The scale in this performance is ideally perfect for original version. His middle octave vocals sound quite catchy, along with background tune from 0:51 to 0:56, he sings Menu Kehn De in Higher scale as compared to original, and it sounds quite good.

N:B. = Scale comparison, Original version has highest scale, Rajkot concert has lower scale, Safaigiri concert has lowest scale...but most ideally perfect scale from these three is the scale in Rajkot concert.

Soni

The extended mukhda portion is very well thought of and carefully laid out, to give a full mukhda graph in terms of how the five separated lines are interconnected i.e. the first part SONI TERA ZIKRA SONI TERI FIKRA, GAL KOI AUR AATI NAHI which is connected with second part AAKHIYAN DE CHANNAV SE, DIL DE PUNJAB SE which is connected with third part ISHQ HULAARE which is connected with fourth part O SONIYE which is connected with the final part CHAL CHAL MERE NAAL which gives the completeness effect to all previous mukhda lines and also completes the whole extended mukhda graph. So there is some great detailing and thought process behind the extended mukhda portion to interconnect it and make it flow in a coherent flow. Stanza portion is also well structured and free flowing. The underlying continuous tune along with Himesh's vocals gives terrific scale, along with terrific raga tune and the History 3 key tune. The lyric, DIL DE PUNJAB SE totally konnekts with the listener.

This song appears to be an unused top stock tune from 2004-2005 pre ABA era which was used now with a different treatment by polishing it up with a few tweaks here and there. One could only imagine how a second version of this song would have sounded with typical pre ABA arrangement, love ballad lyrics sung by Udit Narayan and Alka Yagnik, along with Jayesh Gandhi's vocals on the lines CHAL CHAL MERE NAAL. It would be something quite catchy. Due to the underlying beat and the way the some flows, it seems to be going through a journey. The rhythm of this song in terms of tempo is similar to SEENE MEIN DIL from KOI AAP SA. If it could be a Duet song with female voice, then it could have gone to another higher level and it could easily have been included in the soundtrax of Sultan or Apne.

Waise dekha jaaye agar yeh gaana 2003-2005 mein record hota toh Udit Narayan, Sonu Nigam aur Kumar Sanu shortlist hote, aur final selection most likely Udit ka hota. Now, in today's times imagining a duet version of Soni in Udit and Alka's vocals takes straight back to pre ABA era. Some of the best lines are the intro lines in unplugged mode, SONI TERA ZIKRA, SONI TERI FIKRA, GAL KOI AUR MENU (wins over the listener) AATI NAHI...AAKHIYAAN DE CHANNAV SE, DIL DE PUNJAB SE (heartfelt naarebaazi slogan based singing)...SONI MERI SONI TU (wins over the listener) from start to 0:22

Every Night And Day

It is a modern contemporary new age song. Lulia Vantur's portions are the 'build up' part and Himesh's portions delivers the killer punch impact. Though some may argue that Himesh has pleased and oblidged Salman by roping in Lulia Vantur, but the fact is that her voice is ideal for this song. She sings with a fuller mystic vocals as opposed to Himesh's sharp knife edge Sufi Rwak vocals, and this contrast works for ths song. Best part in song is Himesh's lines, AA GAYE HO ZINDAGI MEIN BANKE RAZDAAN, QAYAMAT SE PEHLE NA TOOTE YEH YAARIYAAN from 2:20 to 2:31 & 3:33 to 3:44 with his off-da-hook sharp knife edge Sufi Rwak Kashish vocals along with combo of underlying new age rhythmic Waltz beat with 'perfectly ideal best possible' off-da-hook rhythmic beat pattern to enhance the vocal impact and to deliver the KILL effect and KILLER punch that gets listeners into da zone and makes them completely feel it after Lulia Vantur's build up lines. This song cannot be enjoyed at low volume. However, the song has quite pedestrian ordinary build up lyrics like, Tu Hi Bataa...Yeh Kya Ho Raha Hai which don't make that much of sense and take away from the overall impact, appeal, flow and direction of the song.

Lulia Vantur is a lovely and sporting person with good nature. Thanks to Salman Bhai because of which it was possible for Himesh to rope her to sing this song because it was her who hummed the intro lines of Teri Meri to Himesh over the phone, and he liked her voice after which he offered her this song as it was suitable for her voice. When Lulia Vantur arrived in India during Sultan promotions, there was a video called 'why Lulia has distanced herself from the world' where she always used to shy away from camera to avoid charcha and link up news with Salman Khan, who also avoided to make public appearances with her. Then she was offered Every Night And Day and it was ideal platform to come out of shell and make independent appearances without Salman, to get RuBaRu with aam junta. Now after appearing on The Kapil Sharma Show, Stardust and Umang 2017, she has become bindaas and confident, thanks to Himesh bhai.

So Much In Love

It is the most novel song in the album in terms of composition, arrangement, singing and the overall treatment. Essentially this song can be called a House Mix because such is the treatment given to it in terms of arrangement. The compositional pattern is unconventional, new age, effective and it is complimented with kick@$$ electrifying arragement and Himesh's kashish vocals with sugar coated Auto Tune effect that strikes a chord. The continuous extended vibrant metallic guitar at start is a bit harsh and penetrating. It could have been kept lower or even perhaps a different beginning could have been used as the metallic guitar gives a wrong impression that it is going to be a full on hard core Rock On based song, which is not the case at all since it is House Trance Electro Mix.

2. Teri Arziyaan & Menu Kehn De - TIE

Teri Arziyaan

Best part in song is the mukhda hook line TERE NAAM SE MERI AARZIYAN, TERI AARZIYAN...TU NAHI JAHAAN, TU WAHAAN BHI SAATH HAI along with the combo of underlying heavy drum hit pattern and raw matka hit pattern that catches the listener's pulse. Awesome heartfelt mukhda lyrics KABHI HO SAKA NA ME, TERE ISHQ SE RIHAA...TERE BAAD HAR GHADI, TERE SAATH MEIN RAHAA leave the listener gutted and heavy sighed, followed by mukhda hook lyrics  TERE NAAM SE MERI AARZIYAN...that give the ehsaas felt by the estranged lover who is amidst a musical journey to find his love. The song builds up tremendously with guitar riffs and raw matka hit pattern that catches the listener's pulse, followed by catchy theme piece with off-da-hook halke se feel instrumental twist. Catchy emotional feel tune in between 2nd stanza gap.

If this song could have been a Duet and these lines...Kabhi Ho Saki Na Mein, Tere Ishq Se Riha...Teri Marziyan, Meri Marziyan...were sung in Alka Yagnik's high pitch (Kitna Pyar Karte Hain Sanam - Banaras classical style), or Sunithi Chauhan low pitch or Tanhaiyaan Unplugged mode, or Harshdeep Kaur (Afreen - Kajraare mode)...then this song could have gone to an altogether higher level. The problem with solo (male or female) songs is that no matter how great compositions they may be, at times they can tend to be one dimensional...whereby their Duet version makes them reach their full potential and adds that missing dynamic and variation to the song.

Menu Kehn De

It has a free flowing pattern and rhythm, with new age orchestration. The combo of free flowing new age orchestration and Himesh's heartfelt vocals gets the listener into a freeflowing groove and makes for an overall likeable listening experience. Composition wise it has a sense of Deja-Vu feeling but nevertheless despite this fact it is still quite likeable. It can be said that in this song Himesh has excelled in the singing and orchestration aspect, more than the composition aspect whereby the singing and orchestration has enhanced the appeal of composition. The selection of underlying new age beat and topping it up with wicked techno guitar riffs and phone line tone pattern has boosted the composition to a higher level. It is a song that will keep on growing on the listener upon repeat hears. Himesh has considered the modern sensibilities in terms of giving it a new age Gen Y Punjabi trax flavor in terms of arrangement and retaining the emotions of youth listener with the lyrics, tempo, overall mood and singing it with a Ghazal based sharaayana andaz in stanza portions to enhance the feelings. Infact, this kind of overall template of song whereby orchestration is new age, tempo is on slower side and free flowing and lyrics touch the sentiment of youth, is reminiscant of the new age Punjabi pop scene in the independant album circuit.

Best part in song is Himesh's off-da-hook singing in lines, AAKHIYON SE NADIYAN SAARI AAJ (off-da-hook halke se feel singing) BEHN DE from 1:38 to 1:43 that win over the listener, followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern and wicked techno riff from 1:44 to 1:46 in unplugged mode. Best stanza line's are Himesh's line in 1st stanza, BAS TU HI REH GAYI YAAR (awesome singing with awesome profound Sufi Rwak twist) from 3:01 to 3:04 followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern, and wicked techno riff from 3:05 to 3:08 in unplugged mode, and Himesh's line in 2nd stanza, CHAHE KITNE SHIKWE HAIN, CHAHE KITNE BHI GILE HAIN (awesome singing gets listeners into da zone and makes them feel it) from 4:16 to 4:22, REHNA HAI TERE SAATH (awesome naarebaazi slogan based singing with awesome profound Sufi Rwak twist) from 4:23 to 4:27 followed by the combo of off-da-hook whoosh effect, off-da-hook quick hit pattern and wicked techno riff from 4:28 to 4:29 in unplugged mode.

In terms of composition, Himesh has merged simple free flowing composition (for build up) with complex Sufi Rwak composition (for ending notes) i.e. in mukhda...Har Waqt Dil Mein Teri Maujudgi hai, Tu Hi Mohabbat Meri Tu Mausiiquii Hai...Menu Kehn De, Kehn De...Menu Dav Mera Dil Kol Rehnde (simple free flowing composition for build up) which is merged with Aakhiyon Se Nadiyan Saari, Aaj Behn De (complex Sufi Rwak composition for ending notes). In stanza, Socha Tha Dhal Gaye Mausam Woh Seele Seele, Choo ke Joh Dekhi Palkein Haath Hue Geele (simple free flowing composition for build up) which is merged with Bas Tu Hi Reh Gayi Yaar (complex Sufi Rwak composition for ending notes). Aap Se Mausiiquii is a superior track than this song in terms of composition.

3. Tonight & Thuglife - TIE

Tonight

The initial impression of song is as if it is ordinary but it grows upon the listener with repeat hearings and becomes somewhat likeable. The song has a nice freeflowing groove. It has a Rwakin kickass underlying beat along with great mixing of Himesh's vocals. The intermittent semi plugged build up throughout the song followed by full on beat, works for the song. The non comprehendo Alienish bansuri is an amusing fare but it will gather the listener's attention. The biggest drawback is that the composition itself is 'ordinary' therefore good orchestration comprising of Rwakin kickass beat and great intermittent buildup, and Himesh's well mixed vocals can prove effective albeit only to an extent. Nevertheless, it is still enjoyable and in the long run this song is better to be danced on at parties. Although it may be nowhere near a top tune, but rather an average ordinary mediocre 'run of the mill' tune in comparison to Himesh's standards but the best aspect of this song is that it brings back that vintage Sufi Rwak era feeling of 06-08 in terms of Himesh's Sufi Rwak compositional pattern and singing style, which reminds of songs like Ishq Kiya Kiya, Lagi Chute Na, Sisak Sisak Ke, Mehfooz, Ulfat. This song will also attract the Arabian listeners due to the Arabian mukhda hookline. Two of the most rwakin kickass free flowing underlying beats with fluctuating bazz sound in Himesh's Sufi Rwak songs are in Lagi Chute Na from Rocky - The Rebel and this song.

Thuglife

The composition pattern of this song is simple deja-vu. The best part of song is DJ NE DEKHO FULL VOLUME KAR DIYA JEE, HO JAA TU HO JAA TU INSPIRE PIYA JI from 0:28 & 1:08 onwards, followed by gradually building Trance tune from 0:29 & 1:11 onwards along with accelerating beats until 0:36 & 1:16, Though one does not really mind it as such, but the issue with orchestration is that it is a Bhaji Paw mix of contrasting Interior Indian Circuit (tabla beats, pots and pans effect in stanzas) and Western (bazooka horn and combo of Cabana styled feel good peppy theme piece, rhythmic beat and DJ vocals THROW YOUR HANDS IN THE AIR). So this inconsistency hampers the overall mood in terms of fully enjoying it, because on one side there is beach side party feel and on the other side there is interior small town party feel. Himesh's mukhda hook line, HO JAYE HO JAYE JI DANCE FLOOR PE DARING BAAZI is simple, well structured with a Deja-vu feel, but still actually likeable as it has a feel good groove. The combo of feel good tune, rhythmic beat and DJ vocals THROW YOUR HANDS IN THE AIR from 0:50 to 0:58 & 1:29 to 1:38 gets the listener into a likeable swaying groove as if a beach party is going on. This song can be enjoyed whilst being in bindaas dance mood.

4. Trippy & Couple Photo

Trippy

This song has one of the most wicked cult opening intros. The composition is simple deja-vu but still kinda effective along with the orchestration, lyrics and overall treatment. When heard initially, chances are that the listener may wonder 'what is this' and find the song unappealing, thinking that Himesh's line, JHOOM from 0:46 to 0:51 which is DJ manipulated by gradually increasing higher octaves along with accelerating beats, followed by wicked bazz funky sound from 0:52 to 1:02 to give a cool edge Dubstep mash has badly backfired and that there is hardly and melody, and the arrangement effects are basically noise that get onto the listeners nerves. But after few repeat hears, the listener will start to get the groovy hang of the song and once they are in its Trippy zone, then they will start to gradually appreciate it and the underlying idea and motive to make such a song. It is a defying rebellious song representing the rowdy youth generation who want to 'do whatever you want to do man. Best part in the song is off-da-hook arrangement from start to 0:23, 1:15 to 1:26, 1:43 to 1:48 & 2:12 to 2:23

The music video has so many flashes and rotating close up angles that it can almost make the viewer trip while viewing it. They have kinda wasted the model because many people will not see the whole video due to constant flashes. A few are understandable, but almost every frame?! It is of the opinion that Himesh ka mic lekar aur yo yo lip singing pose waale music videos ab bhaut hua, its time to get creative...jumping in Tonight and also Trippy, there was a time when a story was told in his videos, like Samjho Na, Tera Surroor, Naam Hai Tera, Tujhe Bhool Jaana, even ASM title trax. Just lip syncing with mic in a club has become pretty uncreative and stereotype, even if they wan't to go for a club concept, atleast there should be an extra effort to make him dance, with some cool trendy and easy to do dance steps (not like Hrithik Roshan, Shahid Kapoor, Tiger Shroff dance steps with a twist but like some of easy steps in Salman Khan's flims).

Waluscha De Sousa's kamsin aadayein from 2:26 to 2:28

Couple Photo

It is an easy going fun filled song with a Deja vu feel that will take time to grow upon the listener with repeat hears. If this song could be re dubbed in Bhojpuri then it could create a bit of stir in Bhojpuri party scene. Main interesting element in this song is the lyric Couple Photo Tu Upload Kar Facebook Pe Piya, which the young couples with zeal for social media and enthausism for clicking and uploading photos will recall this line during the snapping and uploading process, thinking about the amount of likes they will get afterwards. Selection of female singer Neha Kakkar is ideal for song as her voice adds a rustic earthly zing to it.

Himesh may have opted for Neha Kakkar as female playback for Trippy and Couple Photo, as her recent songs clocked up over 50+ million views, like Kaala Chashma and Mile Ho Tum Reprise.

Remixes

AAP SE MAUSIIQUII TITLE TRAX

Aap Se Mausiiquii International Remix by DJ Chetas

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The tempo of the song is kept intact and same as original.

The slow gradual build up from 0:25 to 0:53 with likeable tune is nice.

Nice bottletop pop echo effect at 0:36

It keeps on building up from 0:55 onwards until the point when the beats start accelerating from 1:07 onwards.

The techno tune that causes the build up to reach its culmination and peak from 1:19 onwards is likeable and it is tremendous build up until this point.

The remix beat kicks in from 1:32 onwards whereby song gains momentum.

Himesh's line, AAP (off-da-hook vocals) at 1:45

The remix is rwakin and in full form with the combo of remix beat and likeable techno tune from 1:47 onwards. Despite the slow tempo of vocals, the overall rhythm is great along with remix beat and gets listener into da zone to feel it.

Between stanza gap, the piano portion in unplugged mode could have been scrapped and avoided as the momentum of remix comes to a sudden halt. Ideally, a beat should not really stop in between since that will not remain a remix that can be played as a dance trax in club as the overall essence of being a remix is diminished.

Stanza

Nice bottletop pop echo effect at 2:30

Proceedings take a chill pill and nostalgic from 2:31 to 3:13 as momentum slows down, but it is understantable to give this kind of treatment in terms of beat, as the individual tempo of individual portions cannot be increased in between the song.

The beat effect and tempo of vocals from 3:01 to 3:14 is as if the listener is stuck in a time lapse.

The remix picks up again with gradual build up from 3:15 onwards with likeable tune and gets listener slowly back again into da groove.

The build up continues with heavy hits from 3:52 onwards that keep on gradually accelerating.

Himesh's line, SEEEE (off-da-hook prodound twist) at 3:52 sounds catchier in this remix as compared to original version.

Himesh's unplugged line, AAP (off-da-hook soulful vocals konnekt with listener) from 4:05 to 4:06

Once again the remix is in full form and Rwakin from 4:06 onwards with arrival of remix beat and techno tune.

This remix also has quite a good balanced mix of Himesh's vocals which is lowered as compared to the original verison.

The hinderance in this remix is the disruption of momentum from stanza gap onwards until the whole stanza is over. To try and preserve the momentum as much as possible in given circumstances, the piano portion in between stanza gap could have been removed.

Aap Se Mausiiquii Tropical Remix

Tempo of song is increased.

The mix of Himesh's vocals from start to 0:25 is loud just as original version.

Nice guitar riff from 0:12 to 0:13

The build up from start to 0:27 is great with whoosh effect and new age key effect.

Off-da-hook remix beat pattern kicks in from 0:28 onwards and gets listener slowly into the swaying groove whereby the listener feels it.

The piano keys in backdrop are likeable.

DJ Aqeel comes with his own version of remix piece from 1:11 onwards and while one doesn't mind it is such, but questions that perhaps a DJ's main work is to enhance and beef up the song with additional effects, not necessarily creating and inserting their own theme pieces that could mix, interefere and perhaps overpower the original compositional portion. Nevertheless, his theme piece is likeable in the overall mix once the listener gets the hang of it.

DJ Aqeel's theme piece from 1:11 onwards is fascinating and blends in perfectly along with Himesh's mukhda hook line, whereby the listeners imagine themselves swaying their hands sideways in estacy at a Goa beach rave party, hence the remix does full justice to his title of being a 'Tropical' mix.

Stanza

Dj Aqeel gets straight into the stanza without the stanza gap portion, and this is what DJ Chetas should have also done in his remix.

The beat and instrument effect along with piano keys from 1:56 to 2:17 is likeable and gives good build up. Since the overall tempo of song is faster, this portion is more effective than the same portion in DJ Chetas remix.

The portion from 2:18 onwards with the beat effect is likeable.

DJ Aqeel's own theme piece is back from 3:38 onwards and the listener tries to get more accustomed in terms of getting the hang of it in the overall mix. The ending high note at 4:19 is nice.

Himesh's line, AAP (off-da-hook vocals) at 3:58 & 4:01, SEEEE (off-da-hook profound twist) from 3:58 to 3:59 sounds catchier as compared to original version.

Aap Se Mausiiquii House Mix by DJ Akbar Sami

The remix starts with likeable remix beat and subtle techno tune until 0:19

The wicked funky theme piece along with Arabian beat effect from 0:20 to 0:37 doesn't sound in the same scale as the original composition and acts as a hinderance. On the flip side, the listeners can only enjoy this part if they find the comic humor in this off scale tune and smile when it plays.

The remix beat with finger snap effect along with vocals from 1:01 to 1:28 is likeable. Also, the mixing of Himesh's vocals is lowered and it is in perfect balance as compared to original version.

Off-da-hook quick finger snap effect at 1:00

Off-da-hook beat effect 1:18 to 1:19, 1:27 to 1:28 & 1:31 to 1;33

The wicked funky theme piece and Arabian beat is back from 1:30 to 1:51 to play as spoilsport.

Stanza

Likeable beat effect 1:52 to 1:53

The mix of Himesh's vocals from 1:54 onwards sounds good along with the remix beat and subtle techno tune.

The finger snap beat kicks in from 2:13 onwards.

The piano interlude along with vocals from 2:45 to 3:15 is likeable.

The combo of wicked funky theme piece and Arabian beat is back from 3:25 onwards to play as spoilsport.

The remix ends with a distorted sound.

The impact of this remix could have been manifolds without the combo of wicked funky theme piece and Arabian beat from 0:20 to 0:37 and so on throughout the remix. The issue is that why did the DJ include this part, as he has tried to be extra cool here by having an edgy tangent from the main hook line but this experiment has backfired. If this part is overlooked then remaining parts are good and it is a decent remix to hear considering all the remaining portions. It has a really good mix of Himesh's vocals in terms of pleasant listening experience. DJ Akbar Sami and Dj Chetas have the best balanced and lowered mix of Himesh's vocals, as compared to the original version and remaining remixes.

Aap Se Mausiiquii Remix by DJ Kiran Kamath

This remix has the fastest tempo, but actually the tempo has been increased so much that Himesh's profound twists seem forced and artificial.

Off-da-hook drum hit effect from 1:10 to 1:12

DJ Kiran Kamath also decided to come up with her own theme piece from 1:12 onwards, but things get quite messy in orchestration from this point onwards until 1:52 without much impact.

Stanza

The fastened tempo makes the twists in Himesh's lines artificial.

The likeable part in this remix is Himesh's line AAP SE-EE-EE-EE (off-da-hook super quick twists) along with accelerating beats from 2:48 to 2;50, followed by off-da-hook thump beat from 2:50 to  2:52 that gives kill effect.

Aap Se Mausiiquii Remix by DJ Aqeel

It begins with trance tune skip pattern and whoosh wind effect.

Off-da-hook quick Ambient keys in the backdrop from 1:07 to 1:28 that gives awesome scale to Himesh's vocals, and catch the listener's pulse from 1:25 to 1:28

The laidback tune from 1:29 to 1:51 in semi plugged mode makes Himesh's vocals catchy, with emphasis on Himesh's line AAP SE-EE-EE-EE (off-da-hook catchy twist) from 1:29 to 1:31, 1:37 to 1:39, 1:51 to 1:54 & 1:59 to 2:01

Tremendous build up from 1:51 onwards with gradually acceleration hits and quick Ambient keys, joined in by catchy groovy Ambient techno tune from 2:15 onwards whereby the remix pick up steam again and makes the listener feel it.

Car wash sprinkler effect in backdrop from 2:51 to 3:01 & 3:35 to 3:44

Off-da-hook quick Ambient keys are back in the backdrop from 3:37 onwards to give awesome scale to Himesh's vocals.

The laidback tune from 4:13 to 4:34 in semi plugged mode makes Himesh's vocals catchy, with emphasis on Himesh's line AAP SE-EE-EE-EE (off-da-hook catchy twist) from 4:13 to 4:15, 4:20 to 4:22, 4:35 to 4:37 & 4:42 to 4:44

Tremendous build up from 4:35 onwards with gradually acceleration hits and quick Ambient keys, joined in by catchy groovy Ambient techno tune from 4:57 onwards whereby the remix pick up steam again and makes the listener feel it.

Aap Se Mausiiquii reprise

It begins with lovely piano keys, sprinkler effect and theme tune along with finger snaps until 0:20 that gives a starry night feel.

The vibrant fluctuating techno bazz sound along with peppy trance tune and underlying ice break thump echo effect from 0:22 onwards gives a great zing to vocals.

Off-da-hook turbine shut down effect from 1:03 to 1:05 & 1:39 to 1:41

The starry night feel is back from 1:41 to 1:58 upon arrival of lovely piano keys and finger click snaps.

Repetitive Ice slab break echo effect in the backdrop from 2:00 onwards.

The peppy trance tune from 2:09 onwards enhances the vocals.

Vocal skid effect at 3:15 in the prolonged note.

Mixing of Himesh's vocals is great in the whole remix whereby the decibels have been reduced to cut off any loudness and penetration in super high pitched lines.

Ranking

1. International Remix by DJ Chetas, Tropical Remix, Remix by DJ Aqeel & Reprise (TIE)

Remix by DJ Aqeel and International Remix that they enhance the catchiness of mukhda hook line, even more than the original version.

Remix by DJ Chetas - drawback is slowness from stanza gap until near end of stanza that kills the progressive momentum

Tropical Remix by DJ Aqeel - DJ's own theme piece kind of overpowers the original mukhda in overall mix, still one doesn't mind it and it is likeable

2. House Mix by DJ Akbar Sami - combo of wicked funky theme piece and Arabian beat acts as spoilsport

3. Remix by DJ Kiran Kamath - mukhda portion is a messy affair whereby too much is going on simultaneously, but it is the most apt remix to play in clubs.

MENU KEHN DE REMIX

Menu Kehn De Remix by Kiran Kamath

The remix has been given perfectly apt treatment by the DJ, whereby the remix beat really suits the song. But despite this, the original version is better than the remix version.

The quick hits in unplugged mode followed by off-da-hook drum hit effect at 0:49, 1:27, 2:36 & 3:59 gives great intermediate effect.

Off-da-hook beat effect from 1:03 to 1:04 & 3;03 to 3:04

The intermittent ambient keys in between 0:51 and 1;17, 2:38 to 2:49 & 4:01 to 4:12 are likeable.

Whoosh wind effect in the backdrop from 1:30 to 1:41, 2:30 to 2:35, 2:43 to 2:49 & 3:40 to 3:47

DJ Kamath's remix of Menu Kehn De is better than his remix of Aap Se Mausiiquii Title Trax.

Menu Kehn De House Mix by Akbar Sami

The build up with whirlwind effect and acceletating catchy techno tune until 0:16 and joined in by remix beat.

Catchy grand techno hits at 0:31, 0:35, 0:49 and so on.

Great build up with gredually accelerating beats from 1:15 to 1:28 along with rocket launch effect.

Rwakin House mix beats from 1:29 to 1:42 get listener into da zone.

The Calypso beat kicks in from 1:43 onwards.

Off-da-hook calypso skip pattern from 1:57 to 1:58 & 2:00 to 2:01

A hipster tune joins in from 2:05, 3:01 & 3:44 onwards and it gives the mukhda lines a nice funky groove whereby the listener feels and sways to it.

The Rwakin House mix tune from 2:35 & 3:17 onwards along with stanza lines gets the listener into da groove.

Off-da-hook quick heavy hit pattern from 2:32 to 2:33 & 3:16 to 3:17 kickstarts the stanzas.

Quick accelerating hits from 2:59 to 3:00 & 3:42 to 3:44

The ending is likeable from 4:08 onwards with the remix beat and feel good guitar theme piece.

Ranking

1. Menu Kehn De Remix by Kiran Kamath and House Mix by Akbar Sami (TIE) - both remixes have a different flavor and are good in their own distinct ways.

EVERY NIGHT AND DAY REMIX

It begins with distorted groovy sound with beat skip pattern until 0:09

A groovy Lead tune joins in from 0:10 onwards.

The underlying beat has a swaying groovy Hip Hop feel to it.

The clap effect from 0:44 to 0:53 that gives intermittent build up, is joined in by Alienish vocals from 0:51 to 0:53 & 1:01 to 1:03

The underlying beat with underlying retro bazz and funky groovy Lead tune from 1:03 to 1:22 makes the listener sway to da groove in an easy going feel good way.

Steam iron effect from 1:22 to 1:27, 2:25 to 2:29 & 2:35 to 2:38

Intermittent Waltz beats along with Lulia's vocals from 1:32 to 1:46 and Himesh's vocals from 2:45 to 2:58 are effective.

Underlying retro groovy feel along with Himesh's subtle feel lower middle octave vocals from 3:38 to 3:47 followed by sharp high pitched vocals along with intermittent Waltz beat from 3:48 onwards that provides good rhythm.

The original version is way better and far superior than its remix.

Off-da-hook skip effect in semi plugged mode at 4:19 to 4:21

Original version is better than its remix.

COUPLE PHOTO REMIX

It begins with traditional Matki Pod build up effect until 0:19

Whoosh wind effect followed by distorted bazz sound from 0:41 to 0:45

The build up with gradually accelerating beats from 0:45 to 0:49 & 1:14 to 1:18 followed by additional trance tune from 0:50 to 0:58 & 1:19 to 1:28 along with vocals is effective.

The quick heavy hits at 1:38 give good intermittent effect.

The continuous subtle trance tune in backdrop along with stanza vocals is effective.

TONIGHT REMIX

It has been given a naughtier treatment, especially the theme flute piece from start to 0:18 sounds quite naughty and makes the listeners smile.

Great build up from 0:19 to 0:27 with trance tune and vocal 'shikdum' effect in semi plugged mode.

Full on rhythmic beat kicks in from 0:28 onwards.

Off-da-hook quick skip effect 0:36 to 0:37

The additional rhythmic tune from 0:38 onwards is effective and gives great scale to Himesh's vocals.

Naughty flute piece at 1:00 & 1:04 makes the listener smile.

Off-da-hook quick skip effect from 1:32 to 1:33 & 2:56 to 2:57

Naughty flute piece at 2:23, 2:28, 3:47 & 3:52 makes the listener smile.

The remix adds on to the original version and is equally enjoyable. Great work by DJ Kiran Kamath.

SO MUCH IN LOVE REMIX

It builds up with gradually accelerating hits from 0:15 to 0:29

The Calypso beat kicks in from 0:30 onwards.

Good quick intermittent hit effect from 0:42 to 0:44, 0:54 to 0:55

Trance skip effect from 1:08 to 1:09, 2:11 to 2:12 & 3:13 to 3:14

Alienish female voice from 1:10 to 1:23, 2:13 to 2:26 & 3:15 to 3:29

Quick clap effect from 1:32 to 1:39 causes build up.

The calypso beat is back from 1:40, 2:42 onwards to add zing to proceedings.

Likeable repetitive echo effect in Himesh's high pitched alaap OO-OO-OO-OO from 1:45 to 1:48 & 2:48 to 2:50

The original version is way better than the remix.

The remix has an easy going feel good vibe.

TERI ARZIYAAN HOUSE MIX

Sometimes, the remixes act mere as add ons in any soundtrax. But Teri Arziyan Remix takes the original song to a higher level. The remix is equally enjoyable like the original. There is consistenty in the underlying arragement of this remix which preserves the loungish feel, whereby the original version keeps on alternating in between heavy drum hit pattern and Wada Tenu styled fast tabla hit pattern.

The Ambient sound attached to underlying beat from 0:22 onwards is likeable.

The theme piece from 0:28 to 0:41 & 1:35 to 1:49 sounds quite catchy and more catchier as compared to the theme piece in the original version. Awesome halke se tune twist from 0:37 to 0:39 & 1:45 to 1:47

The Waltz hit pattern along with new age groovy sound from 0:41, 2:28 & 4:10 onwards catches the listener's pulse.

Wicked new age twist in groovy sound at 0:48, 0:51, 1:04 & 1:07

The underlying beat with heavy sharp hit pattern from 1:10, 2:41 & 4:23 onwards gets the listener into da zone.

Great semi plugged build up from 1:23 to 1:35, 2:14 to 2:26 & 3:57 to 4:09 along with Prince Of Persia themed Haunt feel piano keys.

Wicked abrupt CD spin stop effect at 3:05 followed by raga tune and well structured catchy emotional feel tune along with heavy sharp hit pattern from 3:19 to 3:32 that gets listeners into da zone and makes them feel it.

The catchy theme piece is back from 1:35 to 1:48 & 4:49 to end to mesmerize the listener. Awesome work by DJ Kiran Kamath.

SONI HOUSE MIX

The feel good guitar strumming goes really well in sync with the feel good guitar theme piece from 0:14 to 0:24 and Himesh's lines.

The catchy airy trance tune along with off-da-hook heavy hit pattern from 0:46, 1:31, 2:31, 3:06, 4:07 & 4:42 onwards gets listeners into da zone.

The feel good guitar strumming goes really well in sync with Himesh's lines AAKHIYAN DE CHANNAV SE, DIL DE PUNJAB SE...SONI MERI SONI TU from 1:09 to 1:17, 2:42 to 2:52 & 4:18 to 4:26

The finger snaps from 1:20, 1:58, 2:20 & 3:34 onwards lighten up the mood a bit and make proceedings easy going.

Quick likeble majestic keys from 1:44 to 1:47, 3:20 to 3:22 & 4:56 to 4:58 followed by whoosh wind effect from 1:47 to 1:50, 3:23 to 3:26 & 4:59 to 5:02 followed by turbine effect from 1:52 to 1:55, 3:27 to 3:31 & 5:03 to 5:07 topped up by quick cute Ambient keys from 1:56 to 1:57, 3:31 to 3:33 & 5:07 to 5:09

Wicked bazz guitar flick at 4:41 in start stop gap.

Great work by DJ Kiran Kamath.

MENU KEHN DE UNPLUGGED

At the initial onset, when the listener reads the credits they wonder why is there a need for an unplugged version. But after listening, there is a realization that it's mood is great for listening it during a quiet evening with thehraav by the terrace.

Subtle bazz sound in backdrop at 0:17, 0:21 & 0:24 causes good build up.

The majestic Angelic sprinkler effect from 0:28 to 0:40 that was also used in TERI YAAD SAATH HAI from TERAA SURROOR 2 is likeable.

The subtle piano interlude keys from 0:45 onwards make the mood likeable.

Verdict

Some people will say that comparisons between Aap Ka Surroor and Aap Se Mausiiquii should not be made as Aap Ka Surroor released 10 years ago and this album is not Aap Ka Surroor 2 but a different title Aap Se Mausiiquii. Some people will say that comparisons ought to be made because it is his second full fledged album as an artiste. I do know that which album is more superior but at this time, lets go with the latter statement and not make a comparison between two albums that released within a gap of 10 years in their different respective eras.

Aap Ka Surroor was the biggest Bestseller album which means it did the highest CD sales ever recorded, youtube views are delusional because they can suggest popularity of a song or album, but can't depict how much money those songs and album made...it is still early days for Aap Se Mausiiquii, but hope that the CD sales from music stores and online digital downloads will be impressive...after all, if a music lover walks into a music store and sees Aap Se Mausiiquii CD on the shelves, they have a good reason to buy a fully loaded album with 25 songs with melodies, peppy enjoyable dance tracks and remixes.

When an album has songs like Aap Se Mausiiquii title trax, Soni, So Much In Love, Every Night And Day, Teri Arziyaan and Menu Kehn De, there is definitely room for experimentation for the remaining songs. However, having said that and also considering the 'Iconic' status of this album brand it is of the view that Himesh could have included better songs that have more recall value over a long time period instead of Tonight, Couple Photo, Trippy and Thug Life that could have found a place in Himesh's other filmy albums at number 4-5 slots.

Usually when an artiste decides to to an album, they have in mind some concept videos which they could not not do in usual filmy albums, so perhaps that's why these abovementioned songs were selected instead as their music videos would be interesting. Or that Himesh wanted to cover a wide spectrum of audience as Tonight (Arabic element), Couple Photo (couple jodis), Thug Life (interior downtowns), Trippy (dance floor). Himesh also experimented in Aap Ka Surroor from track 3 onwards. It is one thing to experiment and include a wide spectrum of music genres, but also another thing to ensure that with an album after 10 gap period, the songs have something special with a level of recall value over extended period of time that keeps the legacy of the whole album brand franchaise intact, which inturn ensures that there is high anticipation and curiosity when the next one releases.

When Amitabh Bachchan unveiled the CD during Aap Se Mausiiquii album launch, he was mighty impressed by the locales when he opened the cover, and he asked Himesh 'where did you shoot all this' and Himesh replied that he shot everything during his concert tours abroad. So it was a very good strategy by Himesh to utilize his tour dates to shoot for his videos and it was very gracious of Big B to come to the occasion.

Composition

Overall composition wise, title trax and soni are the best compositions in album...and to be more effective and for more impact, the title trax needed to be 1 scale lower, soni needed to be a duet...teri arziyaan needed to be duet, Every Night And Day 1 scale higher, Menu Kehn De 1 scale higher, So Much In Love different starting instead of heavy penetrating metal guitar.

Himesh has touched the right chords on quite a number of times:

> Every Night And Day - the catchy Sufi Rwak hook line AA GAYE HO ZINDAGI MEIN BANKE RAZDAAN, QAYAMAT SE PEHLE TOOTE NA YEH YAARIYAN.

> So Much In Love - the catchy intro mukhda line SUBAH KI...RAUNAKEIN...SIYAHIYAN...SHAAM KI...AAYATEIN BAD RAHI (Sufi Rwak composition), SAB TERE NAAM KI (pre ABA composition)

> Teri Aarziyaan - the simple yet catchy mukhda hook TERE NAAM SE MERI AARZIYAN, TERI AARZIYAN followed by TU NAHI JAHAAN, TU WAHAAN BHI SAATH HAI gives the completeness effect.

> Soni - the whole extended mukhda hook and also the pre ABA styled stanzas.

> Aap Se Mausiiquii - the whole song.

Orchestration

> Every Night And Day - underlying new age rhythmic Waltz beat from 2:20 & 3:33 onwards with 'perfectly ideal best possible' off-da-hook rhythmic beat pattern to enhance the vocal impact and to deliver the KILL effect and KILLER punch that gets listeners into da zone and makes them completely feel it. Majestic Angelic airy breezy tune from 0:06 & 1:45 along with a reptetitive groovy tune that causes tremendous build up.

> Soni - underlying continuous tune along with Himesh's vocals gives terrific scale, along with terrific raga tune and the History 3 key tune.

> Teri Aarziyaan - guitar riffs and raw matka hit pattern from 0:46 onwards that catches the listener's pulse at 0:49, 0:52 and so on, followed by catchy theme piece from 0:53 to 1:09, off-da-hook hard drum beat that joins in from 1:28 onwards.

> Trippy - off-da-hook arrangement from start to 0:23, 1:15 to 1:26, 1:43 to 1:48 & 2:12 to 2:23

> Tonight - Rwakin kickass free flowing beat that kicks in from 0:24 onwards along with underlying fluctuating bazz sound.

> So Much In Love - Electric House Mix arrangement.

Singing

> Every Night And Day - Himesh is in Top form as a Sufi Rwak singer. His sharp knife edged vocals have tremendous kashish in the mukhda lines AA GAYE HO ZINDAGI MEIN BANKE RAZDAN, QAYAMAT SE PEHLE TOOTE NA YEH YAARIYAN.

> So Much In Love - the catchy intro mukhda line SUBAH KI...RAUNAKEIN...SIYAHIYAN (off-da-hook Sufi Rwak twist)...SHAAM KI...AAYATEIN BAD RAHI, SAB TERE NAAM KI (off-da-hook halke se feel singing) that wins over the listener. Rwakin Auto Tune slang effect in his lines from 3:58 to 4:04

> Teri Arziyan - Himesh's lines, MERI AARZIYAAN (terrific desperation feel emphasis fariyaad twist) from 1:30 to 1:31, MARZIYAAN (terrific desperation feel emphasis fariyaad twist)from 1:34 to 1:35, WAHAAN (awesome desperation feel emphasis twist) at 1:37, TERE NAAM SE (awesome note variation) at 1:42, He sings with earnst honesty and sincerety to depict the tadap and desperation feel  and hopelessness dejection of the lover. Bhaut shidat se gaaya hai.

> Soni - Himesh's line, DIL DE (off-da-hook Sufi Rwak naarebaazi slogan based singing catches listener's pulse) PUNJAB SE.

> Aap Se Mausiiquii - Himesh's super high pitched intro lines from 0:31 to 0:59 with heartfelt kashish, AAP SE (awesome profound Sufi Rwak twist) from 1:02 to 1:03, AASHIQUI (awesome profound Sufi Rwak twist) from 1:04 to 1:05, MAUSIQUII (awesome profound Sufi Rwak twist) from 1:11 to 1:12, AAP SE (awesome heartfelt vocals with painful kashish) from 1:16 to 1:17, AAP SE (off-da-hook fulltu vocals) from 1:16 to 1:19 to fully express underlying inner feelings of lover, MAUSIQUIII (awesome ghehraayi singing) from 1:40 to 1:42, MAUSIIQUII (awesome prolonged tonal kashish strikes a chord) from 1:42 to 1:49

Neha Kakkar is the ideal choice for Couple Photo, Trippy and Thug life. Lulia Vantur does an awesome job with her mystic vocals in Every Night And Day. It is a great idea to also feature female singers in his album as it adds more variety and dimension to the songs.

Lyrics

Manoj Muntashir has done a great job overall, especially with these outstanding lyrics:

> Teri Aarziyaan - Awesome heartfelt mukhda lyrics KABHI HO SAKA NA ME, TERE ISHQ SE RIHAA...TERE BAAD HAR GHADI, TERE SAATH MEIN RAHAA leave the listener gutted and heavy sighed, followed by mukhda hook lyrics  TERE NAAM SE MERI AARZIYAN...that give the ehsaas felt by the estranged lover.

> Soni - The lyric, DIL DE PUNJAB SE totally konnekts with the listener. Rhyming lyric, CHAL MERE NAAL, CHAL CHAL MERE NAAL ME HU TERA MAHIBAL SONIYE, ME HU TERE NIHAAL MERI BAAT NA TAAL ME HU TERA MAHIBAL SONIYE. The lyric, SONI TERA ZIKHRA, SONI TERI FIKRA...GAL KOI AUR MENU AATI NAHI.

> So Much In Love - the lyric, SUBHA KI RAUNAKEIN, SIYAHIAN SHAAM KI...AAYATEIN BAR RAHI, SAB TERE NAAM KI and REHNA HAI TUMKO AB PAAS MERE...JAISE KE CHAND BADALON MEIN REHTA HAI.

> Couple Photo - the lyric, PASSWORD DIL KA MAINE TUJHKO DIYA

> Aap Se Mausiiquii - the lyric, HALKA HALKA SA HAI NOOR DIL MEIN SAANSON MEIN BHI HAI, AAHISTIGII...BEIKTHYARI YEH KEH RAHI HAI MERI TOH DUNIYA, BAS AAP HI and MEIN IN AANKHON SE KUCH NA DEKHUNGA MERA MANZAR TOH, BAS AAP HAIN...BAHAAR BAHAAR KE KISSE SAARE MERE ANDHAR TOH, BAS AAP HAIN.

Remixes

Aap Se Mausiiquii Reprise, Aap Se Mausiiquii Remix by DJ Aqeel, Aap Se Mausiiquii Tropical Mix and Aap Se Mausiiquii International add value to the original version are they are the top picks from all the Aap Se Mausiiquii remixes done. Aap Se Mausiiquii Remix by DJ Aqeel and Aap Se Mausiiquii International really showcase the catchiness of the mukhda hook. Both remixes of Menu Kehn De are good in their own ways. Tonight Remix has been given a naughtier treatment than the original and is an enjoyable hear. Teri Aarziyaan Lounge Mix and Soni Lounge Mix are great additions and add value to the originals. The top picks from all remixes are Aap Se Mausiiquii Remix by DJ Chetas, Aap Se Mausiiquii Tropical Remix, Aap Se Mausiiquii Remix by DJ Aqeel, Aap Se Mausiiquii Reprise, Teri Arziyaan Lounge Mix, Soni Lounge Mix and Tonight Remix.

Music Videos
 
Naye videos toh response ke hisab se banenge...9-10m views for first two videos is decent, but 1-2m views for next 2 is a bit underwhelming. Making quality videos is expensive fest. Plus, yt views tell of popularity but not how many CD sales are done, Aap Ka Suroor was an All Time Bestseller. Title Trax 11m views and Menu Kehn De 12m views (decent), Tonight 1.6m views and So Much In Love 1.6m views (average), Jukebox 5 lac views. Going by such stats, the trend of actual CD sales of album can be guessed approx. However, the actual CD sales till date are unknown and may vary. Momentum is like a freight train, steam should never be lost. First 2 songs, the going was good. Momentum was lost from Tonight onwards, firstly Tonight shouldn't have released 3rd as it acted like the speed breaker...and morale of story is that same model should never be repeated for more than one song, because new fresh model in each video creates extra interest and views. After repeating same model for 3 videos, now Trippy has come with new model but the video not cut well. So the release strategy could have been releasing Every Night And Day, Soni or Aarziyaan ahead of Tonight to keep the momentum going. In Soni and Arziyaan, a story could have been told instead of mainly 'jumping jhapaak' in Tonite and Trippy which became stereotype concept. They may have gone ahead for Trippy next coz Neha Kakkar's past few songs Kaala Chashma and Mile Ho Tum Reprise had crossed 50M views.

Any Drawbacks

After few weeks of release, the youtube song jukebox has got around 5+ Lac views and videos released thus far have gotten combined 25+ Million views. Now these are quite normal stats as compared to other albums releasing at this time in this era. So the makers must be contemplating and finding out the reasons why...the album has been doing decently good but has not been 'Red Hot'.

Firstly, now that it has been some time after release, the listeners are listening to this album to find 'lambi race ke ghode' song/s that have an 'evergreen recall' value from a 'long run point' of view, but all they find are some 'decently good' songs. Although listeners are liking and enjoying the songs, but still they are somehow not sustaining to the level of initial hears and somehow that killer impact is missing over the period of time. That overall craze and enthusiasm is lacking somewhere among the listeners for this album as compared to his debut album and that is reflecting in the views thus far. Despite having some really great compositions, some magic is missing from this album, that kind of magic that forces a listener to listen tracks continuously non stop on repeat mode, even after weeks of release. Six songs had potential to go at higher level...1. Title Trax could have had a second version whereby it could be 1 scale lower like how it is in Rajkot concert, prepped up music arrangement like how it is in Safaigiri awards 2016, not unplugged and may be consider making it a Duet. 2. Soni needed to be a Duet with female singer 3. Teri Arziyaan could have been a duet with either Harshdeep Kaur's or Sunithi Chauhan's vocals 4. Every Night And Day could have been shifted to 1 higher scale for more impact. 5. Menu Kehn De could have been shifted to 1 higher scale, like how it is in Rajkot concert. 5. The starting prolonged metallic guitar could have been replaced with another intro in So Much In Love.

Some of the songs are not creating that required impact is because he is mixing high and low pitch together i.e. Soni is nice flowing soothing song in middle octave, but high pitched lines O SONI VE could be avoided, and same thing for Teri Arziyan, which is a nice flowing song in middle octave, but high pitched lines OOO MUJHE HAI IF TU could be avoided, because it spoils the overall pleasant mood these songs. If he could have avoided these high pitched lines and let these songs be in KITNA PYAR KARTE HAIN (Banaras) mode, then more people would take a liking these two songs and their impact could be more. Such subtle things make a huge overall difference to the songs.

Strictly speaking from a very critical point of view for the sake to maintaln and uphold this album's iconic brand and franchaise value, it is of the opinion that songs like Tonight, Couple Photo, Thuglife, Trippy ideally do not belong and have no place in this album, because yaadgaar songs with the calibre of and on the lines of memorable ones like Yahi Hota Hai Pyaar, Dil Tumhare Bina...belong in this album, not Average sounding songs that would be forgotten over a period of time. Infact, Himesh had sung mukhdas of Mujhe Bhool Na Jaana and Bhaut Zyaada Pyaar (his father Vipin ji's composition) in musical reality shows and this album was the ideal platform to release the full versions of both these songs instead.

Secondly, the makers have repeated the same model Alankrita Sahai for three consecutive videos and this tactic cannot really work big time because she is unknown and  there is too much same repetition. Although people are reluctant to work with item number known faces like Sunny Leone, but still some people put those reservations aside just for the sake to reap maximum views, including big stars working in big banner films. Perhaps the makers could have considered featuring her in one of the videos, or trying to rope in some known faces like Urvashi Rautela for upcoming video/s. 

One of the drawback in the songs is 'copy paste' of same mukhda lines with same instruments towards the ending which just extends the songs but doesn't add value or variation. In comparison, a song like ABA, Jhalak Dikhlaka, Tera Suroor had variation in mukhda hook along with variations in instruments towards the ending.

Conclusion

Considering that Himesh - the singer has gone exclusive and only sings limited songs these days, this album is a treat for those who miss his voice and want to hear it more often. The album also has ample Sufi Rwak elements which is quite satisfying for the music lovers of 06-08 era. Songs like Aap Se Mausiiquii, Every Night And Day, Soni, So Much In Love, Teri Aarziyan, Menu Kehn De ensure that the album has good melody and will be lapped by by fans along with being liked by aam audience too. Songs like Trippy, Thuglife, Couple Photo and Tonight can be enjoyed too and danced on.

Main Woh Chaand

The song begins with high pitched piano theme piece, joined in by a subtle continuous emotional bazz trumpet in the backdrop.

Himesh gives his protege Darshan Raval the promised break in a reality show.

Darshan has a nasheela suroor in his voice and is apt choice for this song.

The intro mukhda lines from 0:20 to 0:35 have haunt feel in them.

Darshan's lines HAAI-AAAI, TERI-IIIII, BHEEGI-IIII, MERI-IIIII, KAHIN-IIIN are sung with a voice quiver, as if to depict the uncertainity and betaabi of a distorted disoriented lover.

The tune of the mukhda hook line from 0:37 to 0:46 sounds Deva-vu, which is the result of an inspired Himesh.

The composition pattern of mukhda lines from 0:47 onwards is well structured and free flowing, and along with the laidback rhythmic beat the proceedings become likeable and make for a pleasant hear.

Darshan's line, JIS KAA (nasheela suroor vocals) from 0:49 to 0:51 & 1:00 to 1:02, AASMAAN (nice profound twist) from 0:55 to 0:56 & 1:06 to 1:07

Between mukhda & 1st stanza, Himesh's Alienish dard bhara soulful alaap from 1:08 to 1:28 depicts the tadap of lover. The tenor piece with a sad undertone from 1:29 to 1:44 is likeable.

1st stanza

The combo of free flowing composition pattern and Darshan's passionate feel vocals from 1:46 to 2:06 makes for a pleasant hear, whereby Darshan enters the Arijit Singh zone with lines JANNAT TU HI HAI TU HONA NA DOOR, AZMAT HAI TU from 1:56 to 2:03

The computerized vocal echo effect and backdrop piano keys enhance the overall effect.

Things become intense from 2:06 to 2:19 as Darshan sings with intense high pitched vocals to depict the longingness of the tormented lover for his loved one.

Between 1st & 2nd stanza, a violin piece with a sad undertone plays from 3:08 to 3:17 in unplugged mode. Himesh is back with his Alienish dard bhara soulful alaap from 3:18 to 3:38 which depicts the tadap of lover.

2nd stanza

The combo of free flowing composition pattern and Darshan's passionate feel vocals from 3:04 to 4:00 makes for a pleasant hear.

The computerized vocal echo effect and backdrop piano keys enhance the overall effect.

Nice metamorphic lyrics, VEERANIYON KA DIL MEIN LAVA JAALE from 3:40 to 3:44

Things become intense from 4:01 to 4:12 as Darshan sings with intense high pitched vocals to depict the longingness of the tormented lover for his loved one.

The backdrop piano keys from 4:40 onwards enhance the overall effect. 

Highlights of this song:

1. Darshan's nasheela surror passionate feel vocals.

2. Underlying rhythmic laidback beat, high pitched piano theme piece, continuous bazz trumpet at start and the tenor piece in between 1st stanza gap.

3. Himesh's Alienish dard bhara soulful alaap.

Bekhudi

The song begins with well structured well thought prolonged violin theme piece that has a Roman Catholic feel in unplugged mode until 0:20

Feel good guitar riffs join in from 0:21 onwards.

The tune of the intro line BEKHUDIIIII (prolonged) IIIII (off-da-hook profound emphasis Sufi Rwak twist, gets to the listener) from 0:32 to 0:37 comes from Himesh's Sufi Rwak school of music, whereby Darshan's high pitched voice sounds bit rugged, coarse and distorted but has kashish in it.

The tune of repetitive hook lines from 0:48 to 1:08 is inspired from mukhda lines AALAM BETABIYON KA KAISE TUMKO BATAAYE DIL KE PECHI DARAYE CHAHE TUMKO HI CHAAHE from 1:16 to 1:26 in SAMJHO NA from AAP KA SUROOR.

Off-da-hook underlying rhythmic beat that comprises of raw Matka / Pot hit pattern that kicks in from 1:10 onwards is inspired from the underlying beat of DIL DIYA HAI TITLE TRAX.

The song is in full Rwakin form with the additional full on foot tapping beats from 1:21 to 1:40 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them.

Off-da-hook beat pattern from 1:41 to 1:42

Aditi sings with an intoxicated state feel and mesmerizes the listener with super seductive feel vocals in low Alto octave vocal range, with emphasis on lines LAMHA LAMHA TERI BAATEIN (awesome composition pattern) from 1:50 to 1:52

She deliberately does spit clicks in lines BELIYA-AA from 2:12 to 2:14 for that oomph factor.

The song is in full form with the additional full on beats from 2:31 onwards.

Aditi's line, BEKHUDI-III (awesome twist) from 2:28 to 2:30, BEHUDI-IIIIII (awesome prolonged subtle passionate twist) from 2:32 to 2:36

Between mukhda & 1st stanza, off-da-hook Roman Catholic styled grand cello piece with mindblowing instrumental depth, density and volume in unplugged mode wows, blows away and leaves the listener awe struck, especially off-da-hook notes from 2:40 to 2:44 with instrumental ghehraayi which gets to the listener, whereby they imagine themselves amidst old Catholic styled buildings somewhere in Romania. A well structured groovy tune plays from 2:47 to 2:57 along with full on underlying beat whereby the listeners imagine themselves near oldern styled rugged tunnel crevices. Lovely quick rising piano keys from 2:57 to 2:58

1st stanza

The tune and composition pattern comes from Himesh's Sufi Rwak school of music. Although it has the trademark stamp, but the way the individual segregated line pieces from 2:58 to 3:03, 3:03 to 3:08 & 3:09 to 3:19 are patched together gives novelty, new dimension and naya andaaz to the Sufi Rwak flavour. 

Darshan's awesome sooth feel vocals on the lines from 2:58 to 3:03 along with the combo of feel good guitar strumming causes the build up and slowly gets the listener back into da zone, after which the song is in full flow again from 3:03 onwards with arrival of full on Matka beat, whereby the lines from 3:03 to 3:08 are likeable and get the listener into da zone.

The tune from 3:09 to 3:13 is similar to the tune of mukhda lines O JAANIYA VE, O SAATHIYA VE, O BEELIYA VE from SAMJHO NA.

Darshan's line, MEIN (vocal tremble with kashish) at 3:13

Darshan's line, TU AB JUDA (slogan based Sufi Rwak naarebaazi with nice computerized vocal echo effect) from 3:16 to 3:19

Mindblowing lyrics, BAAGHI NAHI YE AASHIQ TERA DIL KOH NA AAZMAANA from 3:03 to 3:08 and TOMATON SE REHNA TU AB JUDA from 3:13 to 3:19 strike a chord with listener in context of the composition.

The song is in full Rwakin form with the additional full on foot tapping beats from 3:30 to 3:51 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them.

Between 1st & 2nd stanza, a well structured high pitched lovely piano piece in unplugged mode from 4:02 to 4:!2 mesmerizes the listener, and by the time the violin theme piece is back along with underlying rhythmic Matka beat, the listener feels it from 4:14 to 4:35 in terms of the well structuredness of the tune along with the rhythm. From second stanza gap onwards and into the 2nd stanza, the listeners find themselves somewhere near some mysterious dark unknown tunnels, caves and dungeons.

2nd stanza

The tune and composition pattern comes from Himesh's Sufi Rwak school of music. Although it has the trademark stamp, but the way the individual segregated line pieces from 4:35 to 4:39, 4:40 to 4:45 & 4:46 to 4:56 are patched together gives novelty, new dimension and naya andaaz to the Sufi Rwak flavour. 

Darshan sings the 2nd stanza better than the 1st stanza.

His likeable hopeful feel lines from 4:35 to 4:40 along with the combo of feel good guitar strumming causes the build up and gets the listener into da zone to feel it, after which the song is in full flow again from 4:40 onwards with arrival of full on Matka beat, whereby his lines from 4:40 to 4:46 are sung with versatility and range in terms of varying feel, intonations and vocal throw whereby they strike a chord, and the song enters in its business end.

His lines, JAZEERON SE (off-da-hook passionate sooth feel, goes soul searching), MERA (off-da-hook ghehraayi vocals) from 4:40 to 4:43

Darshan's line, KAGAZON PE JAISE LIKHI HAI SIAYI (off-da-hook singing, pours his heart out) from 4:46 to 4:51 whereby the tune is similar to the tune of mukhda lines O JAANIYA VE, O SAATHIYA VE from SAMJHO NA.

Darshan's line, TU KAR BAYAAN (slogan based Sufi Rwak naarebaazi with nice computerized vocal echo effect) from 4:54 to 4:56

Mindblowing lyrics, JAZEERON SE WAASTA HAI MERA TU REHMAT KA HAI FASAANA...KAAGAZON PE JAISE, BIKHRI HAI SIYAAYI...KAHAANI TU APNI YUN KAR BAYAAN from 4:40 to 4:56 strike a chord with listener in context of the composition.

The song is in full Rwakin form with the additional full on foot tapping beats from 5:07 to 5:27 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them. 

Highlights of this song:

1. Darshan Raval's passionate feel vocals and Aditi Singh's super seductive feel vocals.

2. Underlying rhythmic Matka beat, well structured violin theme piece,

3. Off-da-hook Roman Catholic styled grand cello piece that blows away the listener and well structured groovy tune in between 1st stanza gap

4. Well structured lovely piano piece in between 2nd stanza gap.

5. Mindblowing Urdu lyrics especially in stanzas to enhance the Sufi Rwak feel.

Bekhudi music video

There was a time when other actors used to walk with stylo on Himesh's music, like Imraan Hashmi and Sonu Sood towards the end of ABA TITLE TRAX music video when they walk across the bridge from opposite directions, and Shahid Kapoor towards the end of AASHIQUI ME TERI from 36 CHINA TOWN promo music video somewhere in a desert.

Now Himesh himself walks with stylo on his own compositions i.e. from 2:24 to 2:28 in Bekhudi music video.

Wafa Ne Bewafai

The song begins with a new age metallic guitar along with intermittent groovy sound.

The underlying beat that joins in from 0:12 onwards comprises of underlying thumping bongo hits and clap effect.

Arijit Singh sings the intro mukhda lines from 0:24 to 0:46 with passionate feel good vocals.

The distorted guitar strumming is a hinderance and breaks the flow of composition. It could have been avoided. But it may be included from narrative's viewpoint as the lover is playing the guitar and singing for his beloved one.

Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 are the best lines in the song and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact.

The quick repetitive mukhda hook line WAFA NE BEWAFAYI KI HAI is decent, whereby the underlying quick Brass Ens hits are likeable.

Between mukhda & 1st stanza, Suzanne D Mello goes about her trademark seductive passionate feel croons along with feel good laidback guitar strumming 1:22 to 1:32 joined in by underlying beat and additional female croons from 1:33 to 1:45

1st stanza

The composition pattern from 1:45 to 1:57 is amusing.

The underlying quick likeable piano keys behind Arijit's lines from 1:57 to 2:10 have a Prince of Persia haunt feel to them and take the lister to a warm zone whereby caves with bonfires burning in them.

The composition pattern of Arijit's line, HAI-AAAAAI (prolonged abrupt up twist) from 2:07 to 2:12 comes from pre ABA style of melody.

Nice high pitched quick piano key flick at 2:17

Between 1st & 2nd stanza, the Brass Ens piece plays from 3:08 to 3:20

2nd stanza

Neeti's lines are prolonged and she does well to sing them continuously non stop at one stretch. The idea of this poetic lullaby singing whereby the heroine is expressing her thoughts in a casual chit chat way is inspired from Alka Yagnik's portion in JAB KABHI from 36 CHINA TOWN.

The underlying quick likeable piano keys behind Neeti's lines from 3:23 to 3:40 have a Prince of Persia haunt feel to them and take the lister to a warm zone whereby caves with bonfires burning in them.

Neeti sings her lines from 3:20 to 3:34 with subtle feel vocals in low Alto pitch range.

The vocal and instrumental effect in Neeti's line, WAJAH HOTI HAI-AAAAI from 3:53 to 3:59 is similar to vocal and instrumental effect from 3:04 to 3:09 & 4:25 to 4:30 in SARI SARI RAAT from KHILADI 786.

Neeti's line, MEIN-EN (awesome composition notes) from 4:06 to 4:07

Neeti's lines from 4:10 to 4:21 have a deja-vu feel in them.

Nice high pitched quick piano key flick at 4:28

Arijit's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 are the best lines in the song and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact.

Highlights of this song:

1. Arijit Singh's passionate feel good vocals and Neeti Mohan's passionate feel vocals.

2. Underlying beat comprising of thumping bongo hits and clap effect.

3. New age metallic guitar along with intermittent groovy sound at start, the quick likeable piano keys in the backdrop from 0:46 to 0:59 and underlying likeable quick Brass End hits from 1:00 to 1:20 along with the muhda hook line.

Wafa Ne Bewafai music video

Himesh's sad dejected face look when he is sitting on the steps from 1:13 to 1:14 reminds of Himesh sitting dejectedly on the steps in SAMJHO NA music video from AAP KA SUROOR.

Teri Yaad

The song begins with a party themed tune, joined in with clap effect from 0:07 to 0:29

Neseeruddin Shah's line, KYA LOVE STORY HAI...MAUT TOH BANTI HAI is hilarious.

Himesh overlooks Yo Yo Honey Singh and opts for Baadshah of Abhi Toh Party Shuru Hui Hai and Saturday Saturday fame.

The vibrant trance tune along with Badshah's rap from 0:31 to 0:46 builds up the song.

Baadshah's line, KYON (taunting intimidating aggressive rap) at 0:38

The wicked bansuri piece plays from 0:47 to 0:54 along with Calypso beat.

The combo of clap effect, party themed tune and Himesh's intro mukhda vocals from 0:55 to 1:10 build up the song.

The accelerating hits along with underlying profound bazz sound from 1:10 to 1:13 kickstart proceedings.

The song is in full form from 1:14 onwards when the free flowing remix beat kicks in.

Himesh's vocals after mixing sound like makhan with malaai maar ke like smooth Butterscotch.

Between mukhda & 1st stanza, a wicked twisted and distorted tune plays from 1:37 to 1:44, Baadshah is back with his rap from 1:52 to 2:07 along with wicked bansuri theme piece, whereby the lines JOH HONA THA WOH HO GAYA seem relevant to the films narrative. Baadshah's rap is decent but not outstanding, and his this portion is the best of all portions. The start stop gap effect in unplugged mode followed by bazz sound from 2:07 to 2:09 is likeable.

1st stanza

Intermittent wicked short shehnayi piece in the backdrop is likeable in the overall context and catches the listener's pulse. 

Between 1st & 2nd stanza, Badshah is back with his rap from 2:42 to 2:58 in unplugged mode followed by wicked bansuri piece with underlying Calypso beat from 2:58 to 3:05, the start stop gap effect in unplugged mode followed by bazz sound from 3:05 to 3:08 catches the listener's pulse.

2nd stanza

Intermittent wicked short shehnayi piece in the backdrop is likeable in the overall context and catches the listener's pulse.

Himesh's line, HAI KASHISH (off-da-hook computerized wave effect) at 3:20 which actually signifies the meaning of Kashish by way of sound. 

The song rather ends abruptly when the wicked bansuri theme piece cuts off abruptly.

Highlights of this song:

1. Himesh's mixed vocals that sound like makhan with malaai maar ke.

2. Underlying free flowing remix beat, combo of wicked bansuri piece and calpyso beat. 

3. Start stop gap effect in unplugged mode followed by bazz sound from 3:05 to 3:08 in between 2nd stanza gap.

4. Baadshah's decent rap, especially in between 1st stanza gap.

Teri Yaad music video

The music video is slick with high octane camera angle shots with a punch of Adrenaline Nitrate.

Naseeruddin Shah's dialogue, KYA LOVE STORY HAI...MAUT TOH BANTI HAI from 0:20 to 0:22 is hilarious.

Naseeruddin Shah enacting the playing of bansuri piece from 0:38 to 0:39 & 1:35 to 1:36 is cult.

Adhuri Zindagi

The song begins with a new age metallic guitar theme piece.

Himesh gives another promised break to newcomer Rituraj Mohanty.

Rituraj sings the intro lines from 0:13 to 0:26 with passionate feel.

His rising lines, YEH ILTIJA HAI TUJHSE MERI from 0:27 to 0:33 build up the song.

The guitar roars from 0:32 to 0:33

Rituraj's line, MERI-IIIII (off-da-hook twist) from 0:31 to 0:33 & 0:51 to 0:53

Rituraj's line, HAI (super passionate feel) at 0:29 & 0:49, RAHU (super passionate feel) at 1:18

Rituraj's line, MUQAMAL (awesome arrogant feel) from 0:44 to 0:45

The underlying foot tapping heat Rock beat joins in from 0:34 onwards along with the hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL (nice lyrics) whereby the catchy funky guitar at 0:36, 0:42, 0:56 & 1:03 enhances the overall effect and catches the listener's pulse in context of the overall associated lines.

Between mukhda & 1st stanza, the upbeat vibrant mood of the song changes to laidback with the arrival of pleasant likeable chime keys from 2:03 to 2:16 in unplugged mode, the funky metallic guitar theme piece plays from 2:16 to 2:30 along with underlying Rock beat.

Between 1st & 2nd stanza, a funky metal guitar flanger piece plays from 4:09 to 4:21 that further enhances the Rock essense of this Rock ballad, followed by the funky metallic guitar theme piece from 4:22 to 4:36

1st & 2nd stanza

Proceedings get laidback with Rituraj's subtle desperation feel singing on a composition pattern from 2:32 to 2:58 & 4:37 to 5:03 which is uncharacteristic of Himesh, along with underlying laidback beat with intermittent sharp hits.

Thunder effect at 2:45 & 4:49

The vibrant metallic guitar piece that joins in from 2:46 to 2:56 & 4:51 to 5:02 to adds intensity to proceedings.

Quick heavy beat pattern from 2:57 to 2:58 & 5:03 to 5:04 is similar to the quick heavy beat pattern from 5:17 to 5:19 in KOLA LAKA VELLARI from WELCOME.

Proceedings get more intense from 2:58 & 5:04 onwards.

Rituraj's line, JHUKAAYA (asking for mannat outside Masjid) from 3:03 to 3:04, BHULAANA (asking for mannat outside Masjid) from 5:09 to 5:10

Highlights of this song:

1. Rituraj's passionate feel vocals with variations in intensity and subtleness.

2. Underlying rhythmic foot tapping Rock beat with a hard hit pattern.

3. Catchy funky guitar in mukhda hook line, pleasant likeable chime keys  in between 1st stanza gap and funky metal guitar flanger piece in between 2nd stanza gap.

Ishq Samundar Reloaded

The song starts with quick raw bongo drum hits along wih a sharp beat that joins in 0:04 onwards along with ASSALAM WALEKUM chants.

The beats gradually accelerate from 0:09 to 0:18

The RnB Hip Hop beat kicks in from 0:18 onwards.

The hilarious intimidating twisted tongued rap ROCK N ROLL BABY followed by funny sound effect from 0:30 to 0:31, 0:34 to 0:35 & 0:43 to 0:44 along with funny intermittent whistle piece which makes the listener smile from 0:28 to 0:45 is cult stuff.

The song builds up from 0:46 to 1:03 with dodgy wicked TAKE IT OFF chants and funny blabbering from 0:53 to 0:54 & 1:01 to 1:02 along with quick sharp semi plugged beat and bazz sound.

The hilarious portion from 0:27 to 1:02 is brainchild of a naughty Himesh.

A quick Arabic tune piece plays from 1:03 to 1:21 along with underlying thump beat effect, whereby the quick vocal interlude from 1:11 to 1:12 & 1:21 to 1:22 catches listener's pulse.

Kanika Kapoor is the perfect choice for this song which is or rather was tailormade for her. It can't be imagined that any other singer in today's generation could have sung it better than her.

Her penetrating vocals get to the listener, especially the line DEEDAR at 1:36

Arabic tune from 1:27 to 1:30 enhances the Arabian feel.

Kanika's line, USSE DIL KI BAAT BATA DEGA (naughty bindaas carefree vocals) from 1:40 to 1:42

Himesh nails it with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants in the hook line HAI ISHQ SAMANDAR DIL DE ANDHAR, ISHQ SAMANDAR DIL DE from 1:45 to 1:53 along with the underlying reloaded beat with a wicked quick skip pattern which gets the listener into the groove and feel it.

Between mukhda & 1st stanza, the Arabic tune along with underlying thump beat effect is back from 1:53 to 2:10

Stanza

Kanika's penetrating vocals get to the listener, especially the line KITNA AUR KAB TAB BHAAGEGA from 2:31 to 2:33

The vibrant metallic guitar from 2:17 to 2:21 enhances the zeal.

Quick raw Arabic drum roll hits from 2:18 to 2:20

Wicked reverse CD spin effect from 2:37 to 2:38

Himesh is back with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants in the hook line HAI ISHQ SAMANDAR DIL DE ANDHAR, ISHQ SAMANDAR DIL DE from 2:34 to 2:43 along with the underlying reloaded beat with a wicked quick skip pattern which gets the listener into the groove and feel it.

ASSALAM VALEKUM chants along with beat effect from 3:03 to 3:16 catches the listener's pulse in the manner it builds up with skip effect from 3:03 to 3:07 followed by full on off-da-hook wicked skip pattern from 3:08 to 3:16 which get to the listener and make them feel it.

The song ends with a wild male yell as if he doesn't give a damn shit.

Highlights of this song:

1. Himesh's Rwakin naarebaazi slogan based chants and Kanika Kapoor's penetrating vocals.

2. Underlying reloaded beat with a wicked quick skip pattern along with male mukhda hook.

3. Arabian tunes, vibrant metallic guitar, quick raw Arabic drum roll hits and wicked reverse CD spin effect.

4. The hilarious naughty portion at start from 0:27 to 1:02 and off-da-hook beat effect from 3:03 to 3:16

Ishq Samundar Reloaded music video

The girl stares intensely at Himesh as she approaches from 0:53 to 0:57, she looks chin up to give a side jawline pose from 1:57 to 2:00, Himesh's carries a guilt filled look from 2:58 to 3:07, From the audio version, it seemed that this would be a dance track whereby Himesh is going to showcase his 6 pack Abs with some Dhaasu steps in the male mukhda hook line ISHQ SAMUNDAR DIL DE ANDAR, but turned out that its music video was rather filled with sleaze and oomph factor, and was an elaboration of one of the naughty portions shown in the first teaser promo. Himesh's cheers pose by lifting the cup from 0:41 to 0:42 reminds of a similar scene in ICE CREAM from THE XPOSE where Himesh lifted the wine glass to say cheers.

Teri Yaad Reprise

The song begins with high pitched piano keys along with intermittent wind whoosh effect in unpugged mode until 0:20

The tenor theme piece joins in from 0:21 onwards and builds up the song.

The listener is completely caught unaware, surprised and astonished upon the arrival of the Rwakin sharp ABA Waltz beat from 0:31 onwards, and upon realization of the proceedings the listener is elated and over joyed with an instant upliftment of mood with anticipation that something special lies ahead in store.

What is even better and tops the iceing on the cake is that Himesh - the Sufi Rwak singer is back in top form with a vengeance.

Himesh's souful vocals have tadap and kashish in them.

The listener slowly gets into the zone with Himesh's intro mukhda lines, TERI YAAD HAI HAR JAGAH from 0:40 to 0:55 just as is the case whereby the listener slowly gets into da zone with opening mukhda lines AASHIQ BANAYA AAPNE in ABA TITLE TRAX.

The song is Rwakin and in full form from 0:57 onwards.

Himesh's line, HAR JAGAH (passionate sooth feel) from 0:46 to 0:48 & 0:54 to 0:55, gives the completeness effect to the preceeding mukhda line, the same way that the line TERE BIN gave the completeness effect to the preceeding mukhda lines in ABA TITLE TRAX.

Himesh's line, HAMAARA (prolonged Sufi Rwak twist) from 0:59 to 1:04, BEWAJAH (catchy note strikes a chord, gives completeness effect to preceeding line) from 1:05 to 1:06

The tune of mukhda line, AASHIQUI TUJHSE, YUHI NAHI HAI, KOI NA KOI 1:08 to 1:15 is inspired and reworked from the mukhda lines AASHIQ BANAYA AAPNE from ABA TITLE TRAX.

Himesh's line, YUN HI NAHI HAI (terrific arrogant feel) from 1:10 to 1:12

There is a continuously fluctuating new age haunt feel varying sprinker effect throughout the song which gives an Angel-ish mystic airy breezy feeling as if sprouts of heavenly smoke is being released above the clouds, which gives terrific scale to Himesh's vocals, especially behind the line, KOI NA KOI from 1:13 to 1:15 & 1:23 to 1:25

Himesh's line, TERI (halke se feel vocals) YAAD HAI (awesome desperation feel vocal rise followed by quick profound twist, pours heart out) HAR JAGAH (awesome passionate sooth feel, gives completeness effect to preceeding lines) from 1:29 to 1:35

Between mukhda & 1st stanza, Himesh croons the well structured heartfelt alaap with reminds of and is slightly inspired by the heartfelt alaap in TERE BIN CHAIN NA AAVE from KARZZZ, followed by quick intense violin piece from 1:59 to 2:07 and tenor theme piece from 2:07 to 2:17

1st stanza

The freeflowing composition pattern is likeable and the listener feels the combo of Himesh's vocals and underlying Waltz beat along with underlying haunt feel sprinkler effect which makes its presence felt.

The middle octave impact of Himesh's vocals really gets to the listener, especially the line JIS EHSAAS KOH LAFZON MEIN KEHNA from 2:28 to 2:35

Himesh's line, NAHI YEH-EEEE (prolonged sufi rwak twist) from 2:38 to 2:42, AB MERA (full of khalish, gives completeness effect to preceedng lines) from 2:43 to 2:45

Between 1st & 2nd stanza, a quick high pitched piano piece from 3:02 to 3:12 in unplugged mode is followed by tenor theme piece from 3:13 to 3:23 and Himesh's well structured prolonged heartfelt alaap from 3:23 to 3:34 along with underlying sharp Waltz beat.

2nd stanza

The freeflowing composition pattern is likeable and the listener feels the combo of Himesh's vocals and underlying Waltz beat along with underlying haunt feel sprinkler effect which makes its presence felt.

Himesh's line, BIKHRE DIN HAIN (terrific sooth feel, makhan vocals) from 3:47 to 3:49

The middle octave impact of Himesh's vocals really gets to the listener, especially the line BEPARWA HAI RAATEIN from 3:50 to 3:54

Himesh's line, AISI -EEEE (prolonged sufi rwak twist) from 3:56 to 4:01, BEPANAH (catchy note, gives completeness effect to preceedng lines) from 4:02 to 4:04

Himesh's line, HAI KASHISH (off-da-hook computerized wave effect) at 3:55 which actually signifies the meaning of Kashish by way of sound.

The song ends with Himesh's heartfelt alaap in unplugged mode followed by violin intertude and off-da-hook wavy sprinkler effect along with mysterious haunt feel sound from 5:03 onwards.

Highlights of this song:

1. Himesh's soulful Sufi Rwak vocals with tadap and kashish.

2. Underlying Rwakin ABA sharp Waltz beat.

3. New age haunt feel sprinkler effect that gives terrific scale.

4. Tenor theme piece, quick intense violin piece in between 1st stanza and quick high pitched piano piece in between 2nd stanza gap.

My Picks

1. Bekhudi & Teri Yaad Reprise - TIE

Bekhudi

The tune in terms of composition pattern comes from Himesh's Sufi Rwak school of music. One could have argued why Himesh himself did not get tempted to sing it, but if he had made his firm mind not to, then instead of giving it to any other protege singer he has already used in the past, Darshan was a good choice as there is freshness and most importantly Darshan has done full justice to the song. The best part of song is when it is in full Rwakin form with the additional full on foot tapping beats from 1:21 to 1:40, 3:30 to 3:51 & 5:07 to 5:27 whereby the listener sways away with estacy and groovs to the rhythm, along with simple well structured and yet so catchy repetitive composition hook pattern whereby the listeners feel the combo of vocals and rhythmic beat which gives a Historic overall impact and wins over them. Darshan comes into his own in 2nd stanza with lines, JAZEERON SE (off-da-hook passionate sooth feel, goes soul searching), MERA (off-da-hook ghehraayi vocals) from 4:40 to 4:43, KAGAZON PE JAISE LIKHI HAI SIAYI (off-da-hook singing, pours his heart out) from 4:46 to 4:51, The song has off-da-hook rhythmic raw Matka beat pattern. Himesh has used well thought off and well structured instrumental pieces, like the violin theme piece, cello piece and groovy tune piece in between 1st stanza gap, and lovely piano piece in between 2nd stanza gap. Aditi Singh has complimented Darshan well with her super seductive vocals, to make the song sound more sultry. Mindblowing Urdu lyrics by Sameer Anjaan especially in stanzas to enhance the Sufi Rwak feel. The vibe and mood of this song is such that it is perfectly suited to hear at nite after dark. This song could have easily found itself in Kajraare album. Himesh has never and not yet given a Sufi Rwak song to Salman Khan. If Bekhudi is shot and picturized on Salman Khan, it can be of blockbuster level. Salman doesn't have to do much, just walk around with style and attitude, somewhere in rugged deserts and near mysterious caves and waterfalls.

Teri Yaad Reprise

An alternate title for this song could easily have been Aashiq Banaya Aapne Version 2. It is good that Himesh kept the same Rwakin sharp Waltz ABA beat in his music library for 11 years. The dosage effect of this song is jaise iska surroor dheere dheere chardta hai aur agar ek baar chad gaya toh phir badta jaata hai aur utarta hi nahi. The test of time will determine whether this song will enter Historic levels, but it is amongst the top and finest Sufi Rwak songs by Himesh. One of the key reasons for this is the underlying Rwakin sharp Waltz ABA beat which wins over the listener upon its arrival upon its onset. If this beat is substituted with another beat, then the effect of this song will reduce manifolds, but the mood, tempo and zone of composition was that it fitted perfectly with the ABA beat to create something special again. It's amazing that Shabbir Ahmed is the lyricist as he has incorporated some key words like AASHIQ, TANHA, KASHISH which were used by Sameer in Himesh's earlier Sufi Rwak compositions. Otherwise, without checking the credits one would assume that it is indeed Sameer Anjaan who is lyricist of this song. After hearing the original version (which ironically is the remix), the reprise version comes into its own big time, upon reducing the tempo of the composition whereby its impact is manifolds. Just as a sidenote in comparison, teri yaad reprise is a terrific song but ABA title trax is way better, original is original and is in an unmatched league of its own. Actually comparison shouldn't be really made in between them, but it arises due to the underlying rwakin sharp waltz beat, but overall great to relive that sufi rwak era again with this version.

P.S. - Bekhudi and Teri Yaad Reprise - TIE are ranked as joint best songs, but if only one has to be picked in between the two, then my personal fav of album is Bekhudi. The reason is that while both songs are from Himesh's top Sufi Rwak drawer, Teri Yaad Reprise sounds deja-vu in composition, orchestration and lyrics, but Bekhudi sounds fresh / novel, and is quite a dynamic song which is why it gets the extra brownie points in favor of it, that is subject to only if 1 best song MUST be chosen instead of a joint tie.

2. Teri Yaad, Main Woh Chaand, Ishq Samundar Reloaded & Wafa Ne Bewafai - TIE

Teri Yaad

This song could well be called Teri Yaad Remix, due to its underlying Calypso beat. Himesh has re-hashed and almagmated some of his top Sufi Rwak composition notes on the same scale but with a few twist in notes here and there, to revisit and pay homage to that era. It is a high octane Adrenaline Nitrate track. Himesh's vocals after mixing sound like makhan with malaai maar ke like smooth Butterscotch. Neseeruddin Shah's short vocal interlude at start is hilarious. Baadshah's rap is decent but not outstanding, whereby his portion in between stanza gap is the best of all portions. Intermittent wicked short shehnayi piece in the backdrop of stanza is likeable in the overall context and catches the listener's pulse. 

Main Woh Chaand

After Dard Dilon Ke and Baaton Koh Teri, Himesh completes the trilogy with this song in this genre, whereby all these three songs are works of an inspired Himesh. The combo of free flowing composition pattern, laidback rhythmic beat and passionate feel vocals makes for a pleasant hear whereby this song can be listened during a long drive on a calm evening. Darshan Raval has an underlying nasheela suroor in his vocals. He is the apt choice for this song as it brings in newness, after considering that otherwise Himesh would have opted for and most likely given this song to either Arijit Singh or Mohd Irfan, as the singing style and nuanances required for such a song is suited and tailormade for their genre. This song keeps on growing upon the listener with repeat hears. From this trilogy of Main Woh Chaand, Dard Dilon Ke and Baaton Koh Teri, the best is Main Woh Chaand, followed by Dard Dilon Ke and then Baaton Koh Teri. It seems like Himesh has found a new good versatile protege singer via musical reality shows as he can sing Arijit Singh / Mohd Irfan kind of songs like Main Woh Chaand, and Sufi Rwak styled compositions like Bekhudi. Hope that he lives up to this potential in future too.

Ishq Samundar Reloaded

This powerpacked song which is truly a reloaded version, or rather a Cult version is something that even the original composer would be proud. Although not an original, it is a song that fits in perfectly given the theme and narrative of the film, which has dark grey seductive shades in it. Upon hearing this song, the listeners check their playlist to see if they are hearing to the same soundtrax or flipped onto another one by mistake, later wonder if this song was included due to a fluke, mistake or error and that what kind of googly is this. The song is quite enjoyable and likeable but the question is that why would the makers want Ishq Samandar Reloaded (by reloading the original work of another composer) when the album is already loaded with his original songs. Despite this, still the listener does not mind to listen to this song at all, rather enjoys it but only questions its purpose and identity in this album. The listener may question and argue, why not have another Himesh song in its place, or another remix of Tera Suroor which could be used in promos to promote the film's title and build more audience association towards it. But this song may have been included instead purely from a commercial marketing strategy standpoint, so that the album has even a wider listener appeal since this cult song was quite popular in its days. Also, given the fact that Kanika Kapoor's massy item numbers are really doing well and her tone really suits this song, and the male portion really suits Himesh's high pitched voice and singing style, the makers decided to opt for it. Himesh has shown his fondness for DHEERE DHEERE SE MERI ZINDAGI MEIN AANA and he has often sung it in reality shows, but since that song was recently reworked on, so Himesh opted for another massy popular song instead that could be reworked and liked by Aam Junta. The male chants TAKE IT OFF BABY TAKE IT OFF and the listener wonders that take off what.

Wafa Ne Bewafai

Best part in song are Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 & Neeti's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern), along with likeable quick piano keys in the backdrop which enhances the overall melody impact. The song's graph is quite scattered, widespread and all over the place thus having an undefintive lullaby narrative feel, as opposed to the usual stereotype composition which has a fixed pattern. The song could have had more impact if there could be an alternate arrangement instead of underlying thumping Bongo hits and distorted guitar strumming in the mukhda portion.

This song has traces of pre ABA styled melody, and it could have been more effective if the underlying heavy drum Bongo hits orchestration could have been replaced with trademark pre ABA title trax orchestration present in Himesh's pre ABA title tracks, and if it could have been sung by Udit Nayaran and Alka Yagnik. The results could be something different and to a higher level.

3. Adhuri Zindagi

The best part in song is the mukhda portion comprising of Rituraj's rising lines, YEH ILTIJA HAI (super fassionate feel) TUJHSE MERI-IIII (off-da-hook twist) from 0:27 to 0:33 & 0:48 to 0:53, followed by the underlying foot tapping heat Rock beat joins in from 0:34 onwards along with the hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL (nice lyrics) whereby the catchy funky guitar at 0:36, 0:42, 0:56, 1:03 enhances the overall effect and catches the listener's pulse in context of the overall associated lines. Pleasant likeable chime keys  in between 1st stanza gap and funky metal guitar flanger piece in between 2nd stanza gap. It is a song that could have easily fit in to LIFE IN A METRO album and seems to be a song from Pritam's stable.

Verdict

Composition

> Teri Yaad - Himesh has re-hashed and almagmated some of his top Sufi Rwak composition notes on the same scale but with a few twist in notes here and there, to revisit and pay homage to that era.

> Bekhudi - The tune in terms of composition pattern comes from Himesh's Sufi Rwak school of music. It has the trademark stamp but yet sounds so novel. It reminds of the good Kajaare days. Simple, well structured and yet so catchy repetitive composition hook pattern from 1:21 to 1:40, 3:30 to 3:50 & 5:06 to 5:27

> Adhuri Zindagi Hai - the composition pattern of rising mukhda lines, YEH ILTIJA HAI TUJHSE MERI-IIII (off-da-hook twist) from 0:27 to 0:33 & 0:48 to 0:53, followed by the likeable hook line, ADHURI ZINDAGI HAI, TU KARDE MUQAMAL

> Wafa Ne Bewafai - The composition pattern of Arijit's lines, AB TOH GAIRON SE MERA HAAL POOCHA JAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 0:46 to 0:59 & Neeti's lines, ANJAANI RAAH PE DIL YEH KYUN KHUD KO PAATA HAI...YAHI DARDE DIL MERE DIL KOH RULAATA HAI from 4:33 to 4:45 and have traces of trademark pre ABA melody in them, with emphasis on line YAHI DARDE DIL MERE DIL KOH (terrific composition pattern).

> Main Woh Chaand - The intro haunt feel mukhda lines from 0:20 to 0:35 are likeable and the mukhda line MEIN WOH CHAAND JISKA AASMAAN KOI AUR HAI is free flowing and well structured. 

Orchestration

> Teri Yaad Reprise - underlying Rwakin ABA sharp Waltz beat, continuously fluctuating haunt feel varying sprinker effect throughout the song which gives an Angel-ish mystic airy breezy feeling as if sprouts of heavenly smoke is being released above the clouds.

> Bekhudi - off-da-hook rhythmic raw Matka beat pattern, with additional Rwakin full on foot tapping beats from 1:21, 3:30 & 5:06 onwards that gets listener into da zone. Himesh has used well thought off and well structured instrumental pieces, like the violin theme piece, off-da-hook Roman Catholic styled grand cello piece that blows away the listener and groovy tune piece in between 1st stanza gap, and lovely piano piece in between 2nd stanza gap which sound novel.

> Adhuri Zindagi Hai - the catchy funky guitar at 0:36, 0:42, 0:56 & 1:03 which enhances the overall effect and catches the listener's pulse in context of the overall associated lines, pleasant likeable chime keys from 2:03 to 2:16 in between 1st stanza gap and funky metal guitar flanger piece from 4:09 to 4:21 in between 2nd stanza gap.

> Ishq Samundar Reloaded - beat effect from 3:03 to 3:16 catches the listener's pulse in the manner it builds up with skip effect from 3:03 to 3:07 followed by full on off-da-hook wicked skip pattern from 3:08 to 3:16 which gets to the listener and make them feel it, the underlying reloaded beat with a wicked quick skip pattern along with Himesh's mukhda hook line which gets the listener into the groove and feel it.

> Wafa Ne Bewafayi - the quick likeable piano keys in the backdrop from 0:46 to 0:59 and underlying likeable quick Brass End hits from 1:00 to 1:20 along with the muhda hook line.

Overall, the most standout orchestration is underlying Rwakin ABA sharp Waltz beat and continuously fluctuating new age haunt feel varying sprinker effect in Teri Yaad Reprise, and off-da-hook rhythmic raw Matka beat pattern, with additional full on beats from 1:21 onwards and off-da-hook Roman Catholic styled grand cello piece that blows away the listener in between 1st stanza of Bekhudi.

Singers

> Himesh is in top vintage form both in Teri Yaad with his soulful Sufi Rwak vocals with tadap and kashish and Ishq Samundar Reloaded with his sharp knife edge high pitched Rwakin naarebaazi slogan based chants. Also, his supporting accompanying Alien-ish vocal alaap in Main Woh Chaand enhances the soulful feel.

> Darshan Raval does full justice to Bekhudi with his passionate feel vocals, especially in 2nd stanza where he comes into his own and sings with versatility and range in terms of varying feel, intonations and vocal throw whereby they strike a chord. He sings Main Woh Chaand with nasheela surror passionate feel vocals, which go with the song's mood. Both these songs give him a chance to express and showcase his credentials, unlike the party song Kheech Meri Photo in Sanam Teri Kasam which limited, restricted and confined him to sing in a stereotype zone. Himesh has made the lives of many protege singers from reality shows, like Vineet Singh and Aman Trikha that have mainly relied on him for most work. Now Himesh has given a solid debut playback platform to Darshan Raval and also taking him along for promotions. Himesh lives by his word. It seems like Himesh has found a new good versatile protege singer Darshan Raval via musical reality shows as he can sing Arijit Singh / Mohd Irfan kind of songs like Main Woh Chaand, and Sufi Rwak styled compositions like Bekhudi. Hope that he lives up to this potential in future too.

> Aditi Singh does full justice to Bekhudi with her super seductive passionate feel vocals in an intoxicated state, which were the requirements of a song with such mood, feel and zone.

> Kanika Kapoor is the perfectly apt choice and tailormade for Ishq Samundar Reloaded whereby her penetrating vocals get to the listener.

> ArijIt Singh goes about his trademark way in Wafa Ne Bewafai and Neeti Mohan compliments him ably in her prolonged lines which are rather difficult to sing all in one stretch. Suzanne D Mello does her trademark seductive feel croons.

> Rituraj makes a decent debut with passionate feel vocals with variations in intensity and subtleness.

Lyrics

> Bekhudi - mindblowing Urdu lyrics by Sameer Anjaan, especially in stanzas to enhance the Sufi Rwak feel. He has upped his writing game and taken his level higher in this song.

> Adhuri Zindagi Hai - nice mukhda hook lyrics ADHURI ZINDAGI HAI, TU KAR DE MUQAMAL.

> Teri Yaad - smart writing by Shabbir Ahmed by incorporating some key words like AASHIQ, TANHA, KASHISH, TERI YAAD SAATH HAI which were used in Himesh's earlier Sufi Rwak compositions.

> Main Woh Chaand - nice metamorphic lyrics, MAIN WOH CHAAND JISKA TERE BIN NA KOI ASMAAN, and VEERANIYON KA DIL MEIN LAVA JAALE in 2nd stanza.  

Conclusion

The USP of album is Teri Yaad Reprise and Bekhudi which are superhit chartbuster material, and enough to carry the album's weight on their shoulders. Add to that the high octane Teri Yaad (remix) and powerpacked kickass Ishq Samundar reloaded for the mass appeal, and decent accompaniment with Main Woh Chand, Adhuri Zindagi Hai and Wafa Ne Bewafai. Teri Yaad Reprise and Bekhudi are works of an original Himesh. Main Woh Chand is work of an inspired Himesh. Adhuri Zindagi Hai and Wafa Ne Bewafai are works of an unconventional Himesh whereby he shows his versatility. Ishq Samundar Reloaded is work of a market aware Himesh who knows the commercial sensibilities and wide audience mass appeal. Therefore, this album has something for everyone i.e. Teri Yaad both versions and Bekhudi for his hard core fan segment, Adhuri Zindagi Hai for rock listeners, Main Woh Chand and Wafa Ne Bewafai for passionate lovers, and Ishq Samundar reloaded for the aam junta.

After hearing Sufi Rwak songs like Bekhudi and Teri Yaad Reprise, it was a great move to retitle the film from Guns N Roses to Teraa Surroor, to cash in on the well established trademark Surroor brand and also tout the film as a sequel to AKS - The Moviee. Himesh started his career with traditional Indian styled melodies but he caught the listeners and his fans with an unexpected pleasant surprise when he shifted his sound domain to Sufi Rwak. This shift commands the ultimate respect for Himesh - the composer because he showed his hidden versatility and mastered Sufi Rwak to become an unmatched pioneer in this genre in Bollywood music scene. While he has repetitively shifted his sound domain in between, since he believes in reinventing himself after every couple of years, when he switched to massy music after Kajraare. But whenever he revisits the Sufi Rwak genre, his fans become elated as they get to relive that era again whereby the one of the most core strengths of Himesh - the composer comes to the forefront again, which is exclusive to him and cannot easily be ever emulated both as a Sufi Rwak composer and Sufi Rwak singer by others, as he understands the finest nuances of this genre and is blessed with an unconventional voice that is tailormade for this genre. So whenever he comes close or touches the benckmark of some of his previous best Sufi Rwak works, it's a musical treat for his fans and a reminder to listeners about who ruled in that era by refreshing their memories to his unparalled success in that era both as composer and singer.

Courtesy of Bekhudi and Teri Yaad Reprise which are songs from Himesh's top Sufi Rwak drawer and amongst his best songs right up there in between the time period gap since Hookah Bar released, this album ranks amongst Himesh's best filmi albums alongside Kajraare. The two best things about this album are Himesh - the pre ABA composer in Wafa Ne Bewafai n Himesh - the Sufi Rwak composer in Bekhudi.

Teraa Surroor Mash up

Darshan's 'Bekhudi' vocals are high modulated, and 'Main Woh Chand' vocals, Himesh's ' Ishq Samundar' vocals and Arijit Singh's 'Wafa Ne Bewafai' vocals are low modulated. It is the specialty of DJ Kiran Kamath to do such unconventional things. These modulations sound bit absurd and weird in the mix, but still overall result of his mashup is rwakin.

Adhuri Zindagi Hai - music video

one standout thing in this music video is Naseeruddin Shah's intense glare from 1:05 to 1:06 as he slowly looks up whilst reading the newspaper.

Main Woh Chand - Remix

best part of remix is the build up from 0:33 to 0:44...remix has been given light and easy treatment, and not a heavy dosage thumping treatment.

Ishq Samandar Reloaded - Video

The girl stares intensely at Himesh as she approaches from 0:53 to 0:57, like the way she looks chin up to give a side jawline pose from 1:57 to 2:00, Himesh's carries a guilt filled look from 2:58 to 3:07...but i thought that this would be a dance track whereby Himesh is going to do some Dhaasu steps in the male mukhda hook line, but turned out that this song was filled with sleaze, and was about one of the naughty portions shown in first promo.

Wafa Ne Bewafai Video

Makers are so tactful. As Himesh / Raghu closes the curtain to protect Farah Karimi / Tara from the intense hot sun rays, they take a close up of her cleavage at 0:40...maan na parega cameraman koh yaar.

Studio Unplugged

Standout performances on Aashiq Banaya Aapne...and Hookah Bar (lower scale).

Zindagi

Sunithi is the perfect choice for this song. She sings in lower Alto octave.

Sunithi's line, DARD (typical unique HR melody) at 0:03

The lines from 0:52 to 0:11 have traces of typical HR melody but in a new age avatar.

The underlying bass from 1:07 to 1:08 gives awesome scale.

Off-da-hook household bounce effect beat from 1:10 to 1:11

Sunithi's best line is, MUSKURAKE AANSUO KO JEELE (awesome lower octave twist) from 1;12 to 1;15

The song gives a 'stuck in the middle of nowhere / trance' feeling like Aashiquana Dil Hai from Aap Ka Surroor.

Dhola Dholiya

Afsar and Sneha Panth are perfect choices for this song.

The song starts in typical pre ABA fashion

What a terrific build up with trademark pre ABA feel good guitar riffs in semi plugged mode, followed by emotional feel raaga echo effect, along with rwakin combo of semi plugged beat and catchy guitar riff that slowly gets listener into da groove, followed by full underlying beat when the song kickstarts and gets into full flow.

The raaga echo effect from 4:54 to 4:56 has an emotional konnekt.

The hook line, JAANA NA DOOR (sooth feel) has traces of typical unique HR melody.

Afsar sounds so damn good with his mukhda lines in middle octave.

1st stanza

Himesh - the composer delivers HISTORIC stanza lines from 7:31 to 7:54 that are off-da-hook catchy and Afsal Rwaks it with his Historic middle octave vocals, creating a compotion - singing combo that totally wins over the listener. He is in top form with composition notes from his Top musical drawer.

Scale is perfect.

Afsar's line, TERE (terrific passionate feel) at 7:31

Sneha's lines, BADAKE (awesome profound twist), DEEWANA (awesome profound twist, BANAKE (awesome profound twist) from 7:56 to 8:00

2nd stanza

Himesh - the composer delivers HISTORIC stanza lines from 9:04 to 9:27 that are off-da-hook catchy and Afsal Rwaks it with his Historic middle octave vocals, creating a compotion - singing combo that totally wins over the listener. He is in top form with composition notes from his Top musical drawer.

Scale is perfect

Afsar's line, SAANSON (off-da-hook passionate sooth feel) at 9:05, JAADU RE-EEEE (off-da-hook middle octave khanaak twist blows away the listener) from 9:21 to 9:22

Sneha's line, DOOOR (awesome prolonged vibrato impact) from 9:37 to 9:38

Chakle Chakle

The underlying beat has a groovy Hip Hop swaying groove to it.

Akriti's lines, TERI CHAAHAT MERI SAATHI, HAI YAKEEN HAI KAHI BAAKI have traces of typical HR melody but in a new age avatar.

Akriti's line, DIL VICH RAKHLE-EEE (awesome penetrating feel impact echo twist) from 12:47 to 12:48

The mukhda hook line CHAK CHAK from is simple yet effective, making the listener sway to da groove.

This is a new age song, just like Cheena Re Cheena from Tom Dick N Harry.

Stanzas

They have simple yet effective composition pattern.

It is a Rwakin song, it actually released 8 years ago in 2008 in Tamil version, but this trendy new age Gen Y composition sounds so fresh and relevant in today's times and can be a rage in this era if it were to re-release in an out-and-out Hindi album. Song has got one of the most wickedest beat Himesh has ever used in his Hip Hop songs till date. The ferocious emphasis with which the female singer sings the mukhda hook line 'Chak Chak' is really likeable.

This is one of Himesh's Best song in Hip Hop genre till date. This song was perfect to be opening title track of Tom Dick N Harry which was loaded with trendy Hip Hop tracks like Zara Jhoom Jhoom, Tere Sang Ishq, Cheena Re. Tom Dick N Harry was a musical hit, meaning that people came to theaters not because of film or storyline, but mainly to watch the songs on big screen. Chakle Chakle would have been a feather in the cap of this album and a perfect additional fit, and would have further enhanced its cult status among the youth.

Aaha Aaha

It is a 'happy-go-lucky' peppy jovial track.

Himesh's line, CHAHIYE (typical unique HR melody echo effect) from 17:12 to 17:16 & 17:21 to 17:25

Manjeera's line, JAANEJAANA-AAAAA (awesome sudden voice drop) from 18:30 to 18:32 just like how a plane loses sudden altitude.

1st stanza

Himesh sings with his Sufi Rwak naarebaazi slogan based singing.

Himesh's line, TANHA (naarebazi slogal based singing echo effect) at 19:07 to 19:09, LAMHE (naarebazi slogal based singing echo effect) from 19:14 to 19:16

Himesh's line, TUM JOH (catchy Alienish repetive echo effect) from 19:54 to 20:17

Leja Leja

Sunithi is the perfect choice for this song and does justice to it with her husky voice.

Sunithi's line, RAANJHANA from 23:08 to 23:11, SAAJAANA from 23:16 to 23:29  have Arabian touch.

Awesome accompanying alaap by Jayesh Gandhi from 23:26 to 23:29

Stanza

The composition lines from 24:27 to 24:35 & 25:46 to 25:54 have hard core Sufi touch.

The orchestration build up towards the end from 26.47 onwards with grand intermittent bazz trumpet followed by off-da-hook fast drum doll beats and the beat the spins in off-da-hook circular loop, whereby one can imagine the Shiekh doing his Arabian dance thing on top of the terrace of his kingdom.

My Picks

1. Dhola Dholiya

Outstanding catchy composition by Himesh in the first stanza lines, Tere Sangh Maine Kaise Lagan Lagaayi Re, Tere Bina Suni Suni Lagdi Khudaayi Re, Tere Khwab Dekhu Mein To Sapno Ke Mele Mein, Teri Yaad Aye Mujhko Bheed Me Akele Mein from 7:31 to 7:54 and second stanza lines, Saanson Pe Likhi Hai Maine Prem Kahani Re, Tere Naam Kardi Maine Meri Zindagani Re, Teri Chaahaton Ka Mujhpe Chal Gaya Hai Jadoo Re, Meri Dhadkano Pe Nahi Ab Mera Hai Kaabu Re from 9:04 to 9;27

2. Chakle Chakle, Aaha Aaha

3. Zindagi, Leja Leja

Verdict

Composition

Best composition in soundtrax is Historic stanza lines of Dhola Dholiya. If Himesh ever re-uses this portion in his opening songs of his album or film as actor, it can yield epic chartbuster result for the song. Historic catchy stanzas in Dhola Dholiya from Final Cut Of Director are among 'finest all time best ever' composition patterns of HR, right among Top works of HR from his Top musical drawer, Himesh has hit sixer out of the park, a Home Run with this composition, if he uses this pattern in opening song of his private or filmy album, it will become raging chartbuster...lyrics like Tere Sang Maine Kaise Lagan Lagaayi Re, Tere Bina Suni Suni Lagdi Khudaayi Re, Tere Khwab Dekhu Main Toh Sapno Ke Meele Mein, Teri Yaad Aaye Mujhko Bheed Mein Akele Mein in 1st stanza, Saanson Pe Likhi Hai Maine Prem Kahaani Re, Tere Naam Kardi Maine Meri Zindagani Re, Teri Chaaton Ka Mujhpe Chal Gaya Hai Jaadu Re, Meri Dhadkano Pe Nahi Ab Mera Hai Kaabu Re in 2nd stanza, are Fantastic and male singer Afsar Rwaks it, his voice is so good.

Other top lines:

Dhola Dholiya: The mukhda hook line, JAANA NA DOOR (sooth feel) has traces of typical unique HR melody.

Aaha Aaha: Himesh's mukhda line, CHAHIYE (typical unique HR melody echo effect) from 17:12 to 17:16 & 17:21 to 17:25

Chakle Chakle: Akriti's lines, TERI CHAAHAT MERI SAATHI, HAI YAKEEN HAI KAHI BAAKI have traces of typical HR melody but in a new age avatar, The simple yet effective mukhda hook line CHAK CHAK, making the listener sway to da groove. Simple yet effective composition pattern in stanzas.

Zindagi: MUSKURAKE AANSUO KO JEELE (awesome lower octave twist) from 1:12 to 1:15

Orchestration

Refer to Bommalattam Tamil for full orchestration.

Conclusion

This is an experimental album where Himesh exploited his creative scope. In terms of the composition pattern, it is a mix of traces of typical unique HR melody along with the unconventional new age Himesh.

This album has pedestrian common man lyrics but that is understandable as it is a bilanguage album and translation lyrics from Tamil to Hindi needed to retain their original meaning. But if this album was polished up again with better lyrics and up-to-date orchestration, it could be even more effective. Nevertheless, a good album by Himesh where he was in his pre ABA zone and space while composing, along with adding and building it up with experimental unconventional new age patterns and elements. Songs like Dhola Dholiya (melodious ballad), Chakle Chakle and Aaha Aaha (both youth oriented) had the potential to be popular with tighter lyrics and beefed up polished orchestration.

HR's two songs from Final Cut Of Director (Hindi version of Bommalattam) have potential to be chartbusters if they were re-used in proper Hindi album with good promotion i.e. Dhola Dholiya and Chakle Chakle...in Dhola Dholiya, mukhda hook line 'O Mere Dhola Dholiya' can be removed from commercial perspective, remaining portion becomes the mukhda, and Tamil oriented instrumentation in between stanza gaps could be replaced with Hindi based orchestration...it can be a chartbuster melody, full of typical unique HR melody and Historic stanzas...Chakle Chakle catches pulse of youth, it has a wicked beat and needs replacement Gen Y lyrics on hookline 'Chakle Chakle' that they can relate with, along with polished up orchestration, it could be a rage with youth.

Sanam Teri Kasam

The song begins with a mysterious spooky haunt feel bazz sound.

The laidback rhythmic beat kicks in from 0:06 onwards along with vintage funky guitar until 0:18

The guitar theme riffs join in from 0:19 onwards.

The awesome passionate violin piece in semi plugged mode from 0:43 to 0:53 builds up the song.

Ankit Tiwari is the perfectly apt choice.

Ankit's lines from 0:53 to 1:05 comprising of terrific high pitched hooks in semi plugged mode build up the mukhda lines. The tune of these lines are inspired from mukhda lines from 0:55 to 1:04 in GORE MUKHDE PE ZULFAN DI CHAAVAN from SPECIAL 26.

Ankit's line, BADUA-AAAA (straight note) at 1:10, BADUA-AAAA (down twist gives completeness effect) from 1:17 to 1:18 is well structured.

The song buid up until this point is quite good, after which it kicks off from 1:21 onwards.

Ankit's mukhda lines from 1:19 onwards along with underlying rhythmic beat gets the listener slowly but surely into da zone.

The pattern of underlying beat is by quick tapping of Bongos.

Ankit's lines, MAR JAAYENGE HUM (awesome heartfelt vocals give halke se feel) from 1:23 to 1:26, KASAM-MMM (awesome prolonged twist) from 1:34 to 1:36

The repetitive mukhda hook SANAM TERI KASAM from 1:25 to 1:34 & 1:41 to 1:51 has a sense of deja-vu feel but nevertheless free flowing and likeable, also due to the song's scale which is ideally perfect.

Awesome beat effect from 1:32 to 1:36

Palak's lines from 1:37 to 1:42 in semi plugged mode have warmth in them. She has a short but melodiously warm impactful stay throughout the song.

Between mukhda & 1st stanza, the guitar theme piece riffs are back from 1:54 to 2:05 along with passionate violin piece from 2:05 to 2:15 in semi plugged mode.

1st stanza

The stanza lines are free flowing and complement the mukhda, whereby the listeners stay in the groove. Ankit goes about in his usual heartfelt tone and vintage singing style.

Ankit's lines from 2:16 to 2:28 have good composition pattern and are likeable, especially the pause gap in lines HUA...YEH KYA (well sung with pause gap), MERA-AAA (nice profound twist), JUDA...HUA (well sung with pause gap).

Ankit enters the passionate broken rockstar singing mode from 2:29 to 2:34 in lower notes.

Awesome beat effect from 2:27 to 2:28 & 2:47 to 2:48

Profound guitar riff at 2:34

Underlying haunt feel sound makes its presence felt from 2:52 to 2:54

Between 1st & 2nd stanza, guitar riffs along with underlying fluctuating bazz sound from 3:28 to 3:41 are followed by intense acoustic guitar and heavy laidback drum hits from 3:41 onwards to depict the curse in love story along with a nice sprinkler effect from 3:53 to 3:54

2nd stanza

The stanza lines are free flowing and complement the mukhda, whereby the listeners stay in the groove. Ankit goes about in his usual heartfelt tone and vintage singing style.

Ankit's lines from 3:54 to 4:06 have good composition pattern and are likeable, especially the pause gap in lines NASHA...TERA (well sung with pause gap), LAGA-AAA (nice profound twist), DENA...NAHI (well sung with pause gap).

Ankit enters the passionate broken rockstar singing mode from 4:07 to 4:!2 in lower notes.

Awesome beat effect from 4:05 to 4:06 & 4:25 to 4:26 

Profound guitar riff at 4:12

Underlying haunt feel sound makes its presence felt from 4:29 to 4:31

Anikt's line, DOOR JAOGE JOH TUM (awesome variation singing) from 4:32 to 4:35

Highlights of this song:

1. Ankit's heartfelt vocals and Palak's warm melodious vocals.

2. Underlying rhythmic laidback beat, mysterious spooky haunt feel sound, guitar theme piece, passionate violin piece, intense acoustic guitar in between 2nd stanza gap.

Kheech Meri Photo

The song begins with a hilarious jugalbandi of raw pots and pans until 0:06.

The groovy tune that joins in from 0:07 onwards gets the listener into the groove.

Darshan Raval sings the mukhda lines which build up the song with a nasheela suroor, but enters the Ankit Tiwari zone due to the way he moulds his tone and pronounces LAMHA. It could be a deliberate attempt to sing this way, as the requirement is to sing like a high youngster who already has few Tequila shots in his system, but unintentional to emulate Ankit's tone and singing style.

The repetitive mukhda hook is effective and rhythmic along with the peppy arragments. It is sung well in combo of Neeti and Akasa's vocals.

Between mukhda & 1st stanza, hilarious jugalbandi of raw pots and pans is joined in by groovy tune from 1:30 to 1:36 that gets the listener into the groove, followed by quick string riffs from 1:37 onwards along with clap effect and a groovy tune until 2:03

Between 1st & 2nd stanza, heavy raw drums from 3:11 to 3:18 are followed by peppy vibrant upbeat club tune 3:19 to 3:25 and combo of quick clap effect and groovy tune until 3:39

1st & 2nd stanza

The composition pattern of female stanza lines comes from pre ABA item numbers style of music, but the hinderance is that it sounds deja-vu.

The semi plugged backdrop arrangements from 2:04 to 2:19 & 3:40 to 3:55 are raw.

Darshan sings the peppy lines from 2:19 to 2:26 & 3:55 to 4:02 with his own tone and identity.

Highlights of this song:

1. Darshan drowsy vocals, Akasa and Neeti's feel good vocals.

2. Raw instruments comprising of pots, pans and drums.

3. Peppy vibrant upbeat club tune in between 2nd stanza.

Bewajah

The song begins with warm feel high pitched grand piano keys in unplugged mode until 0:17, especially from 0:08 to 0:13 which have a warm undertone and konnekt.

Awesome guitar theme strumming that joins in from 0:17 to 0:30 onwards builds up the song.

Himesh sings in a different unrecognizable tone from his usual default Sufi Rwak tone, like how he sung TERI MERI DOSTI from RADIO.

Himesh's heartfelt lines from 0:31 to 0:57 build up the mukhda, bhaut shidaat se gaaya hai.

Himesh's mukhda line, BEWAJAH NAHI MILNA (awesome desperation feel twist) from 0:58 to 1:02, REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11

The composition pattern of lines BEWAJAH NAHI MILNA TERA MERA enters a compound zone like a far away unknown uninhibited territory.

The quick drum hits from 1:10 & 1:38 onwards followed by underlying rhythmic rock beat gets song into full flow and along with Himesh's vocals gets the listeners into the zone to feel it.

The underlying continuous vibrant metal guitar piece from 1:!2 to 1:26 & 1:40 to 1:52 onwards accentuates the Rock On feel.

The guitar strumming in the backdrop from 1:26 to 1:38 along with Himesh's lines is likeable.

Between mukhda & 1st stanza, a distorted guitar plays from 1:53 to 2:06 followed by guitar theme strumming 2:07 to 2:!2 and a sudden piano key at 2;13

1st stanza

Himesh softens his vocals chords and sings with subtle feel. The piano interlude keys enhance the overall pleasant feel good factor.

The tune from 2:!4 to 2:17 sounds deja-vu, as if previously heard and plays spoilsport to an extent. It may have been a co-incidence but Himesh should have opted for another stanza tune in this portion for better overall impact of song.

Himesh enters the Kumar Sanu zone in lines from 2:27 to 2:29 which are vingate tailor made for Sanu's trademark singature singing style. His attempt to sing this way in order to show another variation and facet of his singing repository makes the listener smile.

The song picks up again from 2:39 onwards with quick heavy repetive hits and underlying rhythmic rock beat.

Off-da-hook heavy hit pattern from 2:52 to 2:54

Between 1st & 2nd stanza, warm piano keys play from 3:08 onwards in unplugged mode and portion from 3:15 to 3:20 is heartwarming and wins over / konnekts with listener due to inherent soul feel, followed by loopy metal guitar from 3:21 onwards which gives sike at 3:32 due to the abrupt modulation.

2nd stanza

Himesh softens his vocals chords and sings with subtle feel. The piano interlude keys enhance the overall pleasant feel good factor.

The tune from 3:36 to 3:38 sounds deja-vu, as if previously heard and plays spoilsport to an extent. It may have been a co-incidence but Himesh should have opted for another stanza tune in this portion for better overall impact of song.  

The song picks up again from 4:01 onwards with quick heavy repetive hits and underlying rhythmic rock beat.

The song ends with awesome guitar theme strumming in unplugged mode.

Highlights of this song:

1. Himesh's heartfelt singing with a different Sufi Rwak tone.

2. Guitar theme piece strumming, grand piano keys, warm heart warming piano keys followed by loopy metal guitar in between 2nd stanza gap.

Tera Chehra

The song begins with guitar riffs theme piece in unplugged mode.

The underlying subtle tabla beat pattern that catches the classical pulse of listener joins in from 0:07 onwards.

The mukhda tune is quite catchy and it comes from Himesh's top musical drawer.

Arijit Singh is the perfect choice and he sings in his vintage mode.

Arijit's lines, MERI BECHANIYON KOH, CHAIN MIL JAAYE from 0:16 to 0:26 have superb lyrics.

Arijit's line, MERI BECHANION KOH (awesome composition pattern) from 0:16 to 0:19

Arijit's line, JAAYEEEEE (off-da-hook catchy fulltu high pitch twist, pours his heart out) EEEEE (down twist gives halke se feel as if an aircraft loses sudden altitude) from 0:22 to 0:25, 0:48 to 0:51 & 1:22 to 1:25

The combo of Arijit's line, MERE DEEWANEPAN KOH along with feel good gutiar riffs from 0:44 to 0:46 catches the listener's pulse.

Arijit's line, CHEHRA-AAA (off-da-hook twist) at 0:37, 0:56 & 1:35

Arijit sings in subtle feel mode from 1:00 to 1:05

Arijit's line, DEKHO NA AANKHON SE (happy feel vocals), BEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 1:12 to 1:15

Arijit's lines, NOOR (trademark Arijit) at 1:19, CHEHRA-AAA (trademark Arijit) at 1:29

In between mukhda & 1st stanza, the guitar theme piece riffs play.

1st stanza

Arijit Singh goes about his merry ways in the repetitive hook lines from 1:51 to 2:06 which are free flowing, have shayarana lyrics and complement the mukhda.

Arijit's line, DEKHO NA HOTON PE (happy feel vocals) TERA EHSAAS (terrific composition pattern), REH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 2:!3 to 2:21

Arijit's line, MERE HAR RAASTE KOH, MANZIL MIL JAAYE from 2:22 to 2:31 have superb lyrics.

In between 1st & 2nd stanza, the combo of subtle violin piece and piano keys from 2:48 to 3:03 is joined in by subtle jazzy metal guitar from 3:04 to 3:20

2nd stanza

It is better than 1st stanza.

Arijit Singh goes about his merry ways in the repetitive hook lines from 3:21 to 3:36 which are free flowing, have shayarana lyrics and complement the mukhda.

Arijit's line, DEKHO NA HAI LAMHA (happy feel vocals) TERi DASTAAN (terrific composition pattern), KEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 3:44 to 3:51

Arijit's line, MERI HAR IK TADAP KOH, SUKOON MIL JAAYE from 2:22 to 2:31 have superb lyrics.

The combo of Arijit's line, MERI HAR IK TADAP KOH along with feel good gutiar riffs from 3:54 to 3:55 catches the listener's pulse.

Arijit's line, SUKOON (trademark Arijit) from 3:56 to 3:57

Highlights of this song:

1. Arijit Singh's subtle feel and fulltu high pitch vocals.

2. Underlying quick tabla hit pattern and guitar theme piece riffs.

3. Subtle violin piece and piano keys joined in by subtle jazzy metal guitar in between 2nd stanza gap.

4. Superb lyrics especially in the lines whenever the tune of mukhda hook comes.

Haal-E-Dil Male

The song begins with painfully agonizing moaning yells and spooky mysterious bazz sound as if someone is trapped in the deep down unknown dungeon cells of Prince of Persia.

The grand high pitched piano keys join in from 0:!3 onwards.

The mukhda line HAAL-E-DIL MERA is based on a complex raag.

The underlying beat with a mysterious spooky feel is laidback rhythmic.

Sreeram sings with desperation feel vocals.

Usually in almost all cases, the scale of the arrangement and scale of vocals is the same. But in the song intro, the underlying bazz sound has a different intriguing scale as compared to the vocals until and this is done deliberately until the mukhda end until 1:41 to accentuate the haunt feel factor. Thus, it is experimental stuff by Himesh.

Between mukhda & 1st stanza, painfully agonizing moaning yells and spooky mysterious bazz sound is back from 1:31 to 1:45 to torment the lover and remind of his dark space, followed by grand high pitched piano keys from 1:45 to 2:00

Between 1st & 2nd stanza, metal guitar from 3:25 to 3:39 is followed by grand high pitched pinao keys from 3:39 to 3:56

1st stanza & 2nd stanza

The scale of the song makes more sense from stanza onwards as the bazz sound subsides and is replaced by the underlying subtle constant piano keys interlude that enhance the haunt feel, which deliberately are still at a slightly offbeat intriguing scale as compared to the vocals to continue that haunt feel vibe.

Sreeram's lines from 2:02 to 2:31 & 3:56 to 4:25 sung with desperation feel are likeable.

The song enters a complex intense zone from 2:32 & 4:26 onwards.

Sreeram's lines, (super low notes) from 2:43 to 2:46 & 4:37 to 4:40 test his lower octave range and stretch them to their down level limit.

Sreeram's lines from 2:47 to 3:01 & 4:41 to 4:55 sung with profound classical twists on a descending composition pattern are likeable.

Sreeram's line, OO OO (terrific desperation plea with tadap and kashish) from 4:56 to 4:57

The song ends with a rather abrupt beat pattern that is partially cut off.

Highlights of this song:

1. Sreeram's desperation feel vocals.

2. Underlying laidback rhythmic beat.

3. Haunt feel backdrop piano keys in stanzas.

Haal-E-Dil Female

The song begins with heavy guitar strumming in unplugged mode, joined in by underlying laidback rhythmic beat and mysteriously spooky bazz sound.

The grand high pitch piano plays from 0:21 to 0:35

Neeti sings with haunt feel vocals.

It has a free flowing tune and along with the combo of laidback rhythmic beat and vocals, the song becomes a free flowing affair.

The mukhda line HAAL-E-DIL MERA (haunt feel melody, based on a complex gambhir raag), PUCHO NA SANAM (pre ABA style) comes from pre ABA style of Vaada days.

Awesome beat effect from 0:47 to 0:49 & 1:14 to 1:16

Neeti's lines, AAP KE ISHQ KI (terrific haunt feel vocals) from 1:01 to 1:03, (MADHOSHI MEIN-NNN, DOOBA-AAA, HAAIN-AAAIN  (off-da-hook profound quick classical twists on a descending composition pattern) from 1:06 to 1:!2 have an eternal love lasting feel to them along with a terrific composition pattern. 

Neeti's line, PUCHO NA SANAM (awesome feel) - MMMMM (awesome prolonged) from 1:31 to 1:36 is trademark pre ABA.

Between mukhda & 1st stanza, a mysterious Arabian tune with quick profound twists plays from 1:38 to 1:52 along with underlying profound thumping drum hits in semi plugged mode, followed by a Mandolin piece with underlying laidback rhythmic beat from 1:53 to 2:08, and this whole portion from 1:38 to 2:08 catches the listener's pulse.  

1st stanza

Neeti enters the Rekha Bhartwaj territory with her whole hearted dil khol singing in lines AAYE (trademark whole hearted Rehka Bharthwaj twist) from 2:11 to 2:13 & 2:15 to 2:!7, LAAYE (trademark whole hearted Rehka Bharthwaj twist) from 2:20 to 2:21

She could have also opted to sing these lines in her own andaz instead for originality.

The song enters the complex intense zone with a painful dukhiyaari feel from 2:40 to 2:47 in unplugged mode as if to depict the curse of the love story, whereby the intermittent grand tune enhances the intensity factor.

Neeti's line, CHALE-EEEEEEEE (awesome prolonged Alto low notes) from 2:49 to 2:53

The quick rising high end keys from 2:52 to 2:55 and kick start of beat at 2:55 gives great intermittent effect.

The combo of Neeti's vocals along with underying rhythmic laidback beat from 2:55 to 3:07 gives a feel of the listener slowing spinning outer space and galaxy of love.

Neeti's lines, RAAT DIN HAR GHADI (terrific haunt feel vocals) from 2:55 to 2:58, SARGOSHI MEIN-EIN, KHOYA-AAA, HAIN-AAAIN (off-da-hook profound quick classical twists on a descending composition pattern) from 2:59 to 3:09 have an eternal love lasting feel to them along with a terrific composition pattern. 

Between 1st & 2nd stanza, an intense mysterious Arabic tune along with profound classical tabla hits catch the listener's pulse. Awesome sprinkler effect from 3:45 to 3:48 and awesome residual echo effect from 3:48 to 3:49

2nd stanza

Neeti enters the Rekha Bhartwaj territory with her whole hearted dil khol singing in lines AAYE (trademark whole hearted Rehka Bharthwaj twist) from 3:54 to 3:56, PARAAYE (trademark whole hearted Rehka Bharthwaj twist) from 3:58 to 3:59

She could have also opted to sing these lines in her own andaz instead for originality.

The song enters the complex intense zone with a painful dukhiyaari feel from 4:19 to 4:26 in unplugged mode as if to depict the curse of the love story, whereby the intermittent grand tune enhances the intensity factor.

Neeti's line, YAHAAN-AAAAAN (awesome prolonged Alto low note twist) from 4:30 to 4:32

The combo of Neeti's vocals along with underying rhythmic laidback beat from 2:55 to 3:07 gives a feel of the listener slowing spinning outer space and galaxy of love.

The quick rising high end keys from 4:31 to 4:34 and kick start of beat at 4:34 gives great intermittent effect.

Neeti's lines, AAP KE PYAAS KI (terrific haunt feel vocals) from 4:34 to 4:37, KHAMOSHI SE-EEE, BHEEGA-AAA, HAI-AAAI (off-da-hook profound quick classical twists on a descending composition pattern) from 4:37 to 4:45 have an eternal love lasting feel to them along with a terrific composition pattern. 

Neeti's line, MERA-AAA (awesome desperation plea twist) from 5:01 to 5:02, PUCHO NA SANAM-MMMM (sung with tadap leaves the listener heavy hearted) from 5:06 to 5:11

The free flowing composition pattern is likeable.

Highlights of this song:

1. Neeti's haunt feel vocals.

2. Underlying laidback rhythmic beat, guitar strumming at start, mysterious Arabian tune qich quick twists in between 1st stanza, intense mysterious Arabic tune along with classical profound tabla hits in between 2nd stanza gap.

Ek Number

The song begins with Arabian theme piece guitar in unplugged mode, joined in by quick mischievious piano keys from 0:12 to 0:14

The rhythmic Hip Hop beat kicks in from 0:15 onwards with a wicked skip pattern.

Computerized desperation feel echo vocals from 0:21 to 0:30

The lyrics, arrangement and treatment of this song has come from a similar thought process during the creation of DOWNLOAD KAR GAYEE from A LOVE ISHTORY.

There is a constant voltage voltage sound in the backdrop.

Himesh the Sufi Rwak singer is back.

His mukhda lines from 0:30 to 0:38 have trendy Gen Y lyrics.

Himesh's lines, KAR LE-EE (awesome quick twists) at 0:32, 0:35, 0:38, 1:03, 1:06 & 1:39

In terms of composition, the mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and along with the underlying beat, gets them into da zone to feel it.

Neeti's carefree seductive feel lines from 0:51 to 1:01 build up the passionate flair, dimag kharaab karta hai.

Neeti's falsetto vocal interlude HA-AH enhances the overall impact of Himesh's mukhda hook.

Naughty Neeti's non comprehendo blabber from 1:30 to 1:31 drivers the listener crazy, dimag kharaab karta hai.

Between mukhda & 1st stanza, the Arabian theme piece guitar plays. The bazz sound along with loopy guitar effect in unplugged mode from 2:06 to 2:08 is awesome.

1st stanza

Versatile Neeti changes her mode and tone, to adapt quickly and deliver her stanza lines with subtle feel.

Neeti's line, SAMJHAA-AA (awesome profound twist) at 2:12, RISHTA-AA (awesome profound twist) at 2:15

The composition pattern of stanza lines from 2:09 to 2:28 comes from Sufi Rwak school of music whereby good old Himesh - The Sufi Rwak singer is back.

The start stop gap at 2:17 followed by Himesh's lines along with underlying Hip Hop beat from 2:18 onwards gives kick, gets the listeners into the zone and makes them feel it.

Himesh's line, YEH ADHURA (Rwakin Sufi Rwak singing konnekts) from 2:23 to 2:24, HEERIYE-EE (off-da-hook intense emphasis singing wins over listener) from 2;26 to 2:27

Between 1st & 2nd stanza, feel good vintage guitar piece in semi plugged mode is joined in by Neeti's seductive feel good vocals, with emphasis on HOLD ME (terrific aggressive) at 3:10, INSEPARABLE (awesome falseto echo effect) from 3:14 to 3:18

2nd stanza

Versatile Neeti changes her mode and tone, to adapt quickly and deliver her stanza lines with subtle feel.

The composition pattern of stanza lines from 3:18 to 3:38 comes from Sufi Rwak school of music whereby good old Himesh - The Sufi Rwak singer is back.

The start stop gap at 3:28 followed by Himesh's lines along with underlying Hip Hop beat from 3;29 onwards gives kick, gets the listeners into the zone and makes them feel it.

Himesh's lines from 3:29 to 3:38 have Uber Rwakin Nazal Twang and they win over the listener.

Highlights of this song:

1. Himesh's Sufi Rwak vocals and Neeti's feel good / subtle feel vocals.

2. Underlying rhythmic Hip Hop beat with a wicked skip pattern.

3. Arabian theme piece guitar.

4. Bazz sound along with loopy guitar effect in unplugged mode in between 1st stanza gap, and feel good vintage guitar piece in between 2nd stanza gap.

5. Trendy Gen Y lyrics in mukhda.

Ek Number - Music Video

Vinay Sapru and Radhika Apte were choreographers also and they have choreographed many songs for Salman Khan. But in Himesh's stanza lines, Vijay Raaz is sitting on the stairs with Firangi gals and doing the Qawali hand moments. This seems to be a mistake, because Ek Number is not a Qawali number but a Sufi Rwak styled number, especially the composition pattern and singing stye of stanzas. Vinay and Radhika ought to know this as one of the work of choreographers is to get the nuance of the song and then assign apt dance steps to match it.

The fantastic actor Vijay Raaz is lip singing to Himesh's voice in the music video, while Vijay Raaz is a fantastic actor with all due veteran respect, him lip singing to Himesh's vocals is hard to digest because if Himesh is singing exclusively these days then he should ensure that top superstars or atleast male leads are going to lip sing to his voice. If support cast will lip sing to his voice, it will pitch down its credibility and effect to a lower level. Himesh's voice should be projected in the spotlight which means that even the music videos matter and who is lip singing to his voice also matters if the video is going to create an impact.

Mawra Hocane is getting a makeover, and the makeover gal is quite aggressive as she bumps into Mawra at 1:04, zor ka dhakka and hard body contact, oouch. She is naughty at 1:38 & 2:00, Mawra looks bheegi billi at 1:50 and cutie at 3:07

Main Teri Yaadon Mein

The song begins with underlying rwakin high voltage livewire electronic beat.

Arijit's mukhda lines from 0:14 to 0:29 build up the song.

Although the composition pattern of mukhda hook from 0:30 to 0:58 sounds deja-vu, but it is effective and konnekts along with off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect.

Between mukhda & 1st stanza, an Arabian tune plays.

Between 1st & 2nd stanza, a feel good vintage guitar piece plays.

1st stanza & 2nd stanza

The free flowing composition pattern is from the retro era and it compliments the mukhda.

Arijit's lines, TERE BIN JEENA KYA (terrific singing) from 3:25 to 3:28 & 3:40 to 3:43, ME (terrific feel twist) at 3:34

The song runs through a fast lane from the start to end and expresses the urgency of love via the yesteryear Retro club track mode.

Highlights of this song:

1. Arijit's intense feel vocals.

2. Rwakin high voltage livewire electronica beat.

3. Off-da-hook quick accelerating kickass beat that gives kill effect.

4. Arabian tune in between 1st stanza gap and feel good vintage guitar piece in between 2nd stanza gap.

Sanam Teri Kasam - Reprise

The guitar strumming build up until 0:23 gives a Humraaz feel.

Mohd Irfan's line, BADUA-AAA (trademark Mohd Irfan) from 0:51 to 0:52

The likeable reprise beat is subtle laidback rhythmic and along with feel good guitar riffs, it makes proceedings bit upbeat / jubilant.

The additional feel good guitar strumming from 1:06 to 1:07 adds to the rhythmic flow.

The mukhda hook has been sung with subtle passionate restrained vocals, and this over zealous albeit restrained singing has kind of backfired as compared to the original version.

Between mukhda & 1st stanza, the passionate violin piece along with underlying rhythmic reprise beat from 1:47 onwards gives good rhythm.

1st stanza & 2nd stanza

The guitar strumming from 1:57 to 2:09 & 3:35 to 3:48 provides great intermittent rhythm to Irfan's lines.

Likeable feel good guitar riffs from 2:37 to 2:42 & 4:15 to 4:19

Highlights of ths song:

1. Mohd Irfan's passionate feel vocals.

2. Underlying rhythmic laidback riffs and guitar atrumming in stanzas.

My Picks

1. Ek Number, Tera Chehra, Sanam Teri Kasam, Main Teri Yaadon Mein - TIE

Ek Number

Himesh - the Sufi Rwak singer is in full form, especially with his Uber Rwakin Nazal singing in the stanzas which wins over / konnekts with listener, and reminds of Kajraare days. Nobody could have sung this song better than him. Ofcourse, the second obvious choice would have been Mika Singh but thankfully Himesh - the composer did not give it to him. Mika could have sung this song very well in his anokha andaaz, but nowhere as good as Himesh and also the trademark Sufi Rwak cravings would have gone missing for a toss if Himesh would have opted for Mika, since the composition pattern of stanza lines that come from Himesh's Sufi Rwak's school music allowed perfect scope and were tailomade for Uber Rwakin Nazal Twang. In terms of composition, the mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and along with the underlying beat, gets them into da zone to feel it. The rhythmic Hip Hop beat has a wicked skip pattern. Himesh's mukhda lines have trendy Gen Y lyrics.
Versatile Neeti keeps the song trendy in with her English lines and also adapts quickly in stanzas to sing with subtle feel vocals as desired to compliment Himesh.

Tera Chehra

It is a Ghazal based song whose mukhda comes from Himesh's top musical drawer and wins over the listener. Arijit's best lines are his mukhda lines, MERI BECHANION KOH (awesome composition pattern) from 0:16 to 0:19, JAAYEEEEE (off-da-hook catchy fulltu high pitch twist, pours his heart out) EEEEE (down twist gives halke se feel as if an aircraft loses sudden altitude) from 0:22 to 0:25, 0:48 to 0:51 & 1:22 to 1:25, DEKHO NA AANKHON SE (happy feel vocals), BEH (off-da-hook fulltu high pitch, pours his heart out), JAATA HAAI (trademark pre ABA twist) from 1:12 to 1:15, Arijit has done great voice intonation, vocal throw and vibrato effect in the ending notes of certain lines. The underlying subtle tabla beat pattern catches the classical pulse of listener and underlying guitar strumming is effective along with the vocals. Superb lyrics especially in the lines whenever the tune of mukhda hook comes. If this song would have been a duet or had a female version sung with lower Alto octave vocals, its impact would have been even manifolds. Some portions of Arijit's singing have kashish in them.

Sanam Teri Kasam

The song keeps on growing upon the listeners and slowly but surely gets them into the groove for compelling repeat hearings. It covers the essence of the title and narrative from all angles i.e. the starting mysterious spooky feel bazz sound and intense acoustic guitar in between 2nd stanza gap conveys elements of deciet and misunderstanding in an edgy afair, the heartfelt vocals convey the warmth in love, the passionate violin piece conveys the passion in between lovers. What works in the song's favor is that it has an innovative rhythmic laidback pattern despite having quite a slow tempo, and the listener gets into the groove due to the rhythmic laidback beat pattern along with warm heartfelt vocals. The heavy rhythmic laidback beat is apt as it makes proceedings free flowing along with mysterious haunt feel with a curse and arrangements with a dejected undertone. Best part of song is Ankit's starting repetitive high pitched muhda lines in unplugged mode from 0:53 to 1:05, DOOR JAOGE JO TUM, MAR JAAYENGE HUM (heartfelt vocals give halke se feel) from 1:19 to 1:25, KASAM-MMMM (awesome prolonged twist) from 1:33 to 1:34, Ankit's stanza lines, HUA...YEH KYA (well sung with pause gap), MERA-AAA (nice profound twist), JUDA...HUA (well sung with pause gap) from 2:16 to 2:28 in 1st stanza, NASHA...TERA (well sung with pause gap), LAGA-AAA (nice twist), DENA...NAHI (well sung with pause gap) from 3:54 to 4:06 and Palak's melodious warm vocals. The previous instance where Himesh gave a song in such a zone in terms of template, tempo and feel was Naina Re from Dangerous Ishq.

Main Teri Yaadon Mein

The tune belongs to the Retro era of yesteryear, but it is given a new age contemporary arrangement with a Rwakin high voltage livewire electronic beat. It runs through a fast lane from the start to end and conveys the urgency of love via the Retro club track mode. Best part of song is Arjjit's mukhda hook mukhda hook from 0:30 to 0:58 that konnekts, along with off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect. Arijit eases through his singing and makes it look easy, whereas in reality this song requires patience and composure to sing such long patches and interludes at a stretch, yet with desperation feel and urgent intensity. His prolonged ending notes and subtle feel twist variations in the mukhda portions are commendable. The vibe of the song is such that the listener feels like jumping back into the Retro yesteryear era and groove to this track in an upscale disco club of the 80s.

2. Haal-E-Dil Female, Bewajah - TIE

Haal-E-Dil Female

The song gives a feel as if the listener from the female point of view is securely trapped at the topmost level in Prince of Persia game, and is hoping and craving for their lover to make their way to the top to reunite again. It is one of Himesh's better and extreme songs in the Haunt Feel category. The mukhda hook is comprised of HAAL-E-DIL MERA (haunt feel melody based on complex gambhir raag) PUCHO NA SANAM (off-da-hook pre ABA styled melody that gives completeness effect and wins over / kokkekts with listener). Best melody is in Neeti's lines, AAP KE ISHQ KI (terrific haunt feel vocals) from 1:01 to 1:03, MADHOSHI MEIN-NNN, DOOBA-AAA, HAAIN-AAAIN  from 1:06 to 1:!2, RAAT DIN HAR GHADI (terrific haunt feel vocals) from 2:55 to 2:58, SARGOSHI MEIN-EIN, KHOYA-AAA, HAIN-AAAIN from 2:59 to 3:09, AAP KE PYAAS KI (terrific haunt feel vocals) from 4:34 to 4:37, KHAMOSHI SE-EEE, BHEEGA-AAA, HAI-AAAI  from 4:37 to 4:45 that have off-da-hook profound quick classical twists on a descending composition pattern and have an eternal love lasting feel to them. It is extremely challenging and quite difficult for any other composer to emulate and make such a haunt feel melody song which is of the 'mybaap' level in this genre.   

Bewajah

It is a Rock based song that could have easily fit into Rockstar and Rock On, and Farhan Akthar would have loved to have it on board for Rock On 2, given the theme and narrative of his band based sequel film. Best instrumentation is the wesome guitar theme strumming and heartwariming piano piece from 3:15 to 3:20 that wins over / konnekts with listener due to its inherent soul feel. The deja-vu stana tune by an inspired Himesh plays spoilsport to an extent whereby he could have considered opting for another composition pattern for the stanza. Himesh's best line is his mukhda line, BEWAJAH NAHI MILNA (awesome desperation feel twist) from 0:58 to 1:02, REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11 & 4:41 to 4:42

Out of the world singing in mukhda line, BEWAJAH NAHI MILNA TERA MERA (takes listener to an unknown territory), REHUMA REHNUMA REHNUMA, stanzas tailor made for Kumar Sanu's voice, unplugged piano piece in between 2nd stanza gap is soul of album.

3. Kheech Meri Photo, Sanam Teri Kasam Reprise, Haal-E-Dil Male - TIE

Kheech Meri Photo

It is an energetic peppy track. Best part is the repetitive mukhda hook KHEECH MERI PHOTO sung in combo with Akasa's and Neeti's vocals which sounds rhythmic along with the peppy arragments. Since the trend of taking Selfies is going around, the hook line Keech Meri Photo will grab the attention during the selfie clicks. Therefore it is a well strategized song which has attempted to catch the pulse with regards to the current trend.

Sanam Teri Kasam Reprise

The likeable reprise beat is subtle laidback rhythmic and along with feel good guitar riffs, it makes proceedings bit upbeat / jubilant, thus justifying its context in the reprise which is basically homecoming of lovers after stern tests and agnee pariksha of love. In terms of singing, Ankit Tiwari's overall singing is better than Mohd Irfan's singing, whereby Mohd Irfan's over zealous albeit restrained singing in mukhda hook has kind of backfired as compared to the original version. He could have sung this mukhda portion with a different approach but he has sung the remaining parts well. Another perspective is that both singers stayed true to the song's identity, whereby Ankit Tiwari sang with broken heartfelt vocals and Mohd Irfan sang with over passionate zealous vocals depicting a jubilant elated passionate lover who is getting another chance at his second homecoming of love. Overall in totality, the original version is better than Reprise.

Haal-E-Dil Male

The song gives a feel as if the listener from the male point of view is trapped in unknown dark mysterious dungeons in Prince of Persia game, and is trying to make their way to the top level in quest for their trapped love and to quench their cravings for love. It is quite a difficult song to sing due to the offbeat intriguing scale, the mukhda line HAAL-E-DIL MERA, the profound classical twists in descending mukhda line and the low notes in the stanza. The song depicts the tadap of ever lasting love. Upon listening the song intro and subsequent mukhda vocals of Sreeram, the listener initially wonders what is the scale of the song, and tries to guage it. Thus, it requires quite intelligent listening to come to terms with it and tests the listener's knowledge, wits and wisdom in classical / semi classical / raag based genre to get a grip with the song because for a shallow listener this song would not make much of sense. This song is like a googly and carrom ball for the listener to figure out in terms of food of thought. Music has some complex pathways too and this is a jig saw puzzle near those edges, boundaries and paths. This is one of the most complex intriguing songs of Himesh whereby he could have easily given Sreeram to sing on the same template, scale and arrangements of the female version, to make it more melodious but he wanted to do true justice from the tormented male lover's viewpoint which made this song a situational fare. Another singer that comes to mind for this song is KK, but these days Himesh is giving youngsters a chance and also KK hasn't sung for Himesh and hasn't been in his musical set up since quite a while.

Verdict

The album has two peppy tracks targeted at mass and youth in form of Ek Number and Kheech Meri Photo, haunting melody in form of Haal-E-Dil female, mysterious spooky in form of Haal-E-Dil male, ghazal based in form of Tera Chehra, Retro Electronica in form of Mein Teri Yaadon Mein, Rock based in form of Bewajah, and sad cursed undertone in form of Sanam Teri Kasam which captures the essence of film. Therefore, it is an album with variety and a bit of everything in terms of diverse genres whereby Himesh has expoited the creative scope and freedom. It shows the capability of Himesh when he is at the helm of affairs for love stories as opposed to out and out massy scores. The special effort put in by Himesh - the composer is evident in this album which is better than many of his non filmy albums in the recent past, including the recent Prem Ratan Dhan Payo. Due to the unconventional tunes along with new age orchestration, the album has fresh sound. Mesmerising captivating imaginary lyrics and selection of currently popular singers is also an add on.

Also, the storyline gave him more scope to create a diverse score and include songs like Haal-E-Dil which would have never seen the light of day in otherwise massy scores he has done in recent past. Also, such a soundtrax can accomodate a ghazal based song like Tera Chehra, whereby Himesh would not normally experiment with such a genre in a massy score due to its perceived audience appeal and reach e.g. he had also composed a terrific ghazal based song like Sheeshe Ka Samundar but included it in his own film The Xpose but would not ideally prefer to give such tracks in a score that warrants guaranteed commercial success by its makers who want to play totally full proof safe and take no chances.

Composition

Himesh has shown a new facet in terms of compositional style in most songs i.e. in overall terms, the songs do not belong from the Himesh stable, but have traces in bits n pieces of his trademark style.

> Tera Chehra - The mukhda tune that comes from Himesh's top musical drawer is quite catchy and wins over the listener.

> Ek Number - mukhda tune including the repetitive mukhda hook is simple but really gets the listener hooked on and stanza lines that come from Himesh's  Sufi Rwak school of music.

> Main Teri Yaadon - mukhda hook which although sounds deja-vu, but is effective and konnekts with listener.

> Haal-E-Dil - The mukhda line HAAL-E-DIL MERA (haunt feel melody), PUCHO NA SANAM (pre ABA style), mukhda and stanza lines (off-da-hook profound classical twists on descending composition pattern) from 1:06 to 1:!2, 2:59 to 3:09 & 4:37 to 4:45

> Sanam Teri Kasam - intro lines from 0:53 to 1:05 comprising of terrific high pitched hooks in semi plugged mode, repetitive mukhda hook SANAM TERI KASAM from 1:25 to 1:34 & 1:41 which is free flowing and likeable, Ankit's stanza lines from 2:16 to 2:28 & 3:54 to 4:06 have good composition pattern and the pause gap in between tnem is likeable.

> Bewajah - REHNUMA (terrific fulltu high pitch) AAN (off-da-hook catchy twist gives kill effect) from 1:08 to 1:11 & 4:41 to 4:42

Orchestration

The extra attention to detail in arrangement and use of new age beats reflects in the songs.

> Main Teri Yaadon Mein- Rwakin livewire electronic beat and off-da-hook quick accelerating kickass beat from 0:30 to 0:33 that gives kill effect.

> Ek Number - Underlying rhythmic Hip Hop beat with a wicked skip pattern.

> Haal-E-Dil Male and Female - Underlying laidback rhythmic beat.

> Bewajah - Awesome guitar theme strumming, warm piano keys from 3:08 onwards and portion from 3:15 to 3:20 which is heartwarming and wins over / konnekts with listener due to inherent soul feel.

> Sanam Teri Kasam - underlying beats in both versions, passionate violin theme piece.

> Use of Arabian tunes and instruments - Arabian theme piece in Ek Number, Arabian tune in between 1st stanza gap in Main Teri Yaadon Mein, mysterious Arabian tune with quick twists in between 1st stanza gap, intense mysterious Arabic tune in between 2nd stanza gap in Haal-E-Dil female.

> Use of grand high pitched piano keys and guitar strumming.

Singers

The results of majority selection of veteran singers over rookies are reflected in the songs.

> Himesh - the Sufi Rwak singer is in full form in Ek Number.

> Arijit Singh has done apt justice to Tera Chehra and is effortless in Main Teri Yaadon Mein.

> Ankit Tiwari has done apt justice to Sanam Teri Kasam.

> Neeti Mohan has shown her versatlilty in Ek Number and ably sung Haal-E-Dil.

> Palak Mucchal's short but melodiously warm impactful vocals in Sanam Teri Kasam.

Also, Himesh kept his promise of giving oppurtunity to Darshan Ravan and Akasa Singh which he committed during the reality show.

Lyrics

Best lyrics are in Tera Chehra, Haal-E-Dil and Ek Number

> Tera Chehra - the lines whenever the tune of mukhda hook comes.

> Haal-E-Dil Mera Pucho Na Sanam - although simple pedestrian lyrics, but they konnekt.

> Ek Number - Trendy Gen Y lyrics in mukhda penned by Himesh himself.

Conclusion

Ever since this project was being filmed, the makers have been superlatively prasing the album on social media. Therefore, it is hoped that it really does well and works for their sake to repay their faith, especlally during the promotions due to relatively new starcast and also to get a good box office opening.

Haal-E-Dil Live Sreeram

To view the live performnce, type this in youtube:

Haal-E-Dil - Sanam Teri Kasam (2016) - Sreerama Chandra - LIVE Performance

The underlying scale of arrangements in live performance is better than OST male version.

Terrific keyboard scale in backdrop makes Sreeram's mukhda lines from 0:!3 to 0:21 quite catchy.

Sreeram's lines, MADHOSHI (terrific kashish) MEIN-EEIN (terrific profound twist) from 1:10 to 1:14, OH HO (terrific desperation plea alaap) from 1:21 to 1:22

Terrific scale in backdrop from 1:56 onwards behind Sreeram's stanza lines makes them quite catchy. The background scale and tune is ideally perfect and couldn't be any better than this. The OST male version should have had this continuous scale, especially in stanzas.

The likeable intermittent piano keys enhance the overall impact of Sreeram's lines.

Sreeram's line, AAP KE PYAAR KI (quite catchy feel vocals) from 2:37 to 2:40

Sreeram's lines, MADHOSHI MEIN-EIN, KHOYA-AAA, HAI-AAAI (off-da-hook quick profound emphasis twists, pours his heart out and nails it) from 2:40 to 2:48
Sreeram's line, YEH AALAM (awesome halke se fele twist, variation from the OST) from 2:49 to 2:51 & 3:15 to 3:15, along with terrific underlying scale from 3:14 to 3:16

Sreeram's line, HAL-E-DIL MERA from 3:19 to 3:22 strikes a chord.

Sreeram's line, PUCHO NA SANAM (awesome feel vocals) from 3:25 to 3:29

Conclusion

The underlying continuous scale is better than OST version, and it really makes the stanza lines catchy. Sreeram sang this live version even better than the OST version. He poured his heart out with his heartfelt singing and nailed it to the T. Marwa Hocane's teary eyes pic in backdrop also strikes a chord.

Sanam Teri Kasam Live

To view the live performnce, type this in youtube:

Sanam Teri Kasam (Title Song) LIVE Performance - Ankit Tiwari - Palak Muchhal

The mukhda hook lines SANAM TERI KASAM and other lines sung by Palak sound melodious. Perhaps Himesh could have included a Duet version 2 in the OST. When Palak asks Mawra Hocane to come forward and holds her hand to bring her on stage from 4:21 onwards, then cutie Mawra doesn't know what to do and innocently looks at Palak at 4:38, 4:44 & 4:54 as she sings. Ankit is having a hard time remembering and cramming the lyrics, as he unsetteledly looks towards the lyrics sheet for recall. He doesn't quite manage to sing in sur on some instances, but when he is in recording studio behind the mic he manages to get it right and this may require lots of practice, focus, dedication along with a few retakes for the ideal voice recording to be selected and passed. Before he used to use Autotune, even deliberately to enhance the vocals with artificial effects and intonations. But recently, he has also sung without use of Autotune e.g. in previous Himesh song Tu Milade from All Is Well and also Sanam Teri Kasam which has no traces or evidence of Autotune.