Music review analysis of Himesh Reshammiya's album Karzzzz (2008).

Lut Jaun

The pattern of the oriental flute piece at start is cult.

The underlying beats that join this extended flute piece rather abruptly from 0.11 onwards have a lounge feel with a repetitive skid effect.

Himesh does away with his usual UUUU's this time around and goes the classical AAAAA way most notably the lower twist AAA at 0.33

Because this is supposed to be a lounge number of a kind, Harshdeep's vocals are very suited and also justified.

She sings with a DEEP HAUNTING voice from 0.49 to 1.24, TUM SE (soothing), KAR-RRRR (profound feel twist) LOON, jeebhar KEEE – EEE –EEE –EEE (awesome gradually rising vocals).

Himesh gets straightaway into business mode and makes immediate impact by his first lines NAZAROON MEIN TERI KASHISH KA AALAM.

The key is his 'straight singing' of these powerful punch mukhda lines without many twists.

Himesh's line, TERE ISHQ NEEEE (emphasis singing) from 1.32 to 1.34 & 1.43 to 1.45, lut JAAUUUU (emphasis twist) at 1.48 & 1.56, LUT (awesome high note with echo effect) from 1.49 to 1.51 & 1.57 to 1.59

Himesh's line, DIYA (pinching melody) at 2.03, 2.09, 4.25 & 4.30

The drum beat pattern from 2.10 to 2.12 is what the doctor ordered for the sahi desired effect.

The 1 hit at 2.13 gives some kick.

Himesh's line, LUT JAUN MEIN (tries to win sympathy) from 2.23 to 2.24 & 4.45 to 4.46 is a great subtle variation.

This is something which he does often in his sufi-rock songs, in the sense that he would mostly sing a particular repetitive lyric/word in full high pitch emphasis but will also sing it in a subtle low note.

From 2.30 to 2.48, Himesh's sufi-rwak alaap is back.

Harsdeep's haunting vocals follow the same tune pattern as in her mukhda lines, with emphasis on TAMANNA, DIL SEEEEE, HAAI – AAI –AAI –AAI (awesome gradually rising vocals).

Household name Jayesh Gandhi arrives on the scene and he gives it his all and sings whole-heartedly.

At 3.26, the underlying lounge beat fades away with a dying effect and the unplugged SHARP beat with an OFF-DA-HOOK pattern along with bazz sound HITS IT real good.

Jayesh's line, lut ja - UUUUUU (prolonged) - UUU (OFF DA HOOK abrupt high desperation emphasis twist with echo effect) from 3.26 to 3.28

Jayesh's line, ja - UUUU-UUUU (terrific twist with echo effect) from 3.29 to 3.32

Lut - JAAA (powerful lower note) – UUUU (awesome prolonged twist with echo effect) from 3.32 to 3.35

Lut – JAAAAAAAA (desperation plea from 3.36 to 3.37) – UUUU.

The key is how the SHARP beat and bazz sound hits it at desired spots, with the overall beat pattern along with Jayesh's lines giving a kick.

Basically Himesh makes Jayesh to croon LUT JAUN in all various kinds of twists he has in his sufi-rock song bank to convey the desperation feelings, just like he crooned TANHAAIYAAN (AKS – THE MOVIE) & VEREENIYA (NAMASTE LONDON) in all possible ways.

From 3.41 onwards, the song picks up in tempo again courtesy of underlying loung-ish beats.

Himesh's lines, SAANSON (passion), SAMANDER (impact), BHEENI BHEENI (great lyrics) & JADU (impact).

The additional drum beats from 4.05 to 4.07 & 4.32 to 4.34 followed by 1 heavy hit at 4.08 & 4.35 keep the song rolling.

Himesh finishes with his prolonged alaap AAAAAAA which in essence is the theme piece.

Highlights of this song:

1. Harsdeep's haunting deep vocals which justify the voice selection for this sufi lounge number.

2. Himesh's straight singing along with a twist here-n-there along with a pinch effect.

3. Jayesh's Lut Jaun part along with echo-effect and sharp unplugged beat.

4. The cult flute-piece pattern at start, underlying sufi lounge beat, drum beat pattern followed by 1 hit beat behind the word lut JAUN that keeps the song rolling and provide sahi desired effect.

5. Vocal echo effect that enhances the overall lounge appeal.

This is an IMPACT song with HAUNTING MELODY.

Hari Om

From 0.36 onwards, a very catchy string based tune pattern plays and it is the theme piece in essence.

Mast jhakass OFF-DA-HOOK beats play from 0.46 to 0.47 & 1.56 to 1.58

From 0.48 onwards, the underlying beat arrangement is like a remix beat.

From 0.55 onwards, Himesh croons with SHARP KNIFE EDGE vocals with hardy any trace of nazal twang.

From 1.26 onwards, a calypso beat kicks in and its spin effect is awesome.

Himesh's line, ROM (twist) ROM (echo effect) from 1.31 to 1.33 is catchy.

The ARABIC instrument from 1.33 to 1.34 is awesome.

From 1.35, the SHEHNAYI is computerized with a skip effect pattern, and the additional DRUM HITS get the foot tapping.

Himesh's lines O-OOOOO (deliberate forced emphasis)–MM from 1.41 to 1.42, 1.48 to 1.49 & 1.56 to 1.57

Between mukhda, 1st stanza & 2nd stanza, the theme piece plays.

1st stanza & 2nd stanza

Himesh's knife edge vocals on a subtle composition pattern give a chill pill and the CALYPSO beat is in full form.

The additional male vocals on lines HARE HARE are effective.

The male rap vocals are in great SYNC with the beats and get the listener into the groove.

The REMIX EFFECT from 2.38 to 2.39 & 3.45 to 3.46 was similarly used in AAHA AAHA (BOMMALATTAM) from 0.44 to 0.45

The song finishes with an extended theme piece along with Himesh's chill pill chants.

Highlights of this song:

1. Himesh's sharp knife edge vocals, male rap and male chants of BOLO HARE HARE.

2. The underlying beats comprised of heavy drum hits & CALYPSO beats with a voltage effect.

3. The mast kickass OFF-DA-HOOK beats and remix effect in male rap part.

4. The string based theme piece, computerized shehnayi pattern effect and Arabian instrument.

Tandoori Nights

The song begins with wicked male rap-n-reggae vocals.

The string based theme piece plays along with a funky wicked sound from 0.14 to 0.30

Himesh's sharp knife edge vocals on lines TA TANA TANA NANA from 0.30 to 0.31, 0.35 to 0.36 is quite catchy.

Sunithi chauhan is tailor-made for such a song and she sings her English lines with style.

Hiemsh's lines RABBA RABBA from 1.31 to 1.32 give a kick.

The fast drum-roll beats from 1.32 to 1.33 were similarly used in BHANGRA PAALE (ANTHONY KAUN HAI) at 1.24

Himesh goes fulltu in his high pitch line JAAN from 1.33 & 1.49

Between mukhda & 1st stanza, the string based theme piece plays along with a funky wicked sound plays.

1st stanza

The composition pattern gets a bit subtle from 2.12 to 2.33 but picks up from 2.34 onwards.

HR and Sunithi exchange lines from 2.43 onwards and Sunithi's feel good line RABBA RABBA followed by BHANGRA PAALE styled fast drum roll beats from 2.50 to 2.52 give a kick.

Sunithi's feel good lines JAALE * 3 from 2.54 to 2.58 are such that one can't help visualizing Anu Malik crooning them.

Between 1st & 2nd stanza, the tune pattern along with female croons is catchy.

2nd stanza

The composition pattern gets a bit subtle from 3.44 to 4.05 but picks up from 4.06 onwards.

The song ends with an extended string based theme pattern that enhances the feel good nature.

Highlights of the song:

1. Himesh's sharp knife edge vocals and Sunithi's feel good vocals.

2. The OFF-DA-HOOK fast drum-roll beats.

3. The theme piece along with wicked funky sound and the tune pattern along with female croons in between 1st and 2nd stanza.

Soniye Je Tere

The song begins with a new age techno tune and an underlying bazz sound along with effective rap-n-reggae vocals.

The underlying innovative wicked beat comprises of an off-da-hook cutting edge CULT quick skip pattern followed by a 2 quick clap pattern. Himesh used a 'similar version' of this cutting edge quick beat skip effect in RABBA LUCK BARSA from KAJRAARE which is in full form from 4.58 to 5.18 (along with the 2 quick heavy hit pattern which was substituted instead of the 2 quick clap effect in this song).

Off-da-hook profound heavy 4 Arabic beat pattern from 0.30 to 0.31 is the instrumental USP of the song and it gives kick.

The subtle fast paced tabla beats kick in from 0.31 to 0.40 & 1.00 to 1.09 and Himesh mostly/usually uses this effect in between 1st & 2nd stanza gaps of his sufi rwak songs.

The harmonium plays from 0.41 to 0.59 and the Arabic beat effect is just OFF-DA-HOOK.

The subtle fast paced tabla beats from 1.49 are very pleasing.

Between mukhda & 1st stanza, the harmonium piece plays.

1st stanza

Himesh is at his high pitched sufi-rwak antics with high-pitched line SARI at 2.19

Tulsi Kumar's vocals have haunt melody, with emphasis on her lines MAAHIYA JE TERE NAAL DAGA MEIN KARA (high pitched melodious haunt feel vocals with underlying depth / goonj) from 2.53 to 3.00, TERE (profound melodious desperation feel twist) from 2.54 to 2.55,

Her line, TE RAB KARE MEIN (innocently sweet melodious vocals as if she had lot of honey and sweet flour) from 3.00 to 3.01 & 3.05 to 3.06

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

2nd stanza

Himesh is at his high pitched sufi-rwak antics with high-pitched line TERI at 3.38

Tulsi Kumar's vocals are hauntingly melodious especially TE RAB KARE MEIN (innocently sweet melodious as if she had lot of honey and sweet flour) from 4.17 to 4.18

Once again the very pleasing subtle fast-paced tabla beats return from 4.23 onwards.

The song finishes with rap vocals along with off-da-hook Arabic 4 beat pattern.

Highlights of this song:

1. Off-da-hook profound heavy 4 Arabic beat pattern that is the instrumental USP of this song.

2. The innovative cult beat pattern with off-da-hook quick skip effect, male rap and the pleasing subtle fast paced tabla beats.

3. Tulsi's innocently sweet haunt melody vocals.

What stands out in this song is da cutting edge new age instruments / orchestration.

Dhoom Tere Ishq Ki

Ustad himesh reshammiya is at the helm of affairs.

The song begins with a likeable Indian string instrument in unplugged mode, with emphasis from 0.13 to 0.14

The traditional flute plays from 0.24 onwards conveying the feel factor.

The raga tune plays from 0.36 onwards along with the underlying beats which have a subtle dose of tabla pattern.

VADA TENU (AKS) type harmonium tune plays from 0.44 to 0.46, 1.32 to 1.35

Himesh sings the mukhda lines with feel and passion.

Himesh's line SAJNA-AAAAAA(prolonged)-AAA(down twist) is borrowed from CHAHE GILA KARO (AAP KA SUROOR) from 1.25 to 1.27, 1.30 to 1.32 & 2.10 to 2.12 only in terms of the 'overall effect' purposes for the completeness of the mukhda lines.

Himesh's 3rd DHOOM at 1.16, 1.26 and 2.06 has his unique trademark nasal singing stamp.

Himesh's lines from 1.35 onwards adapt a shariyaana ghazal type andaz and the tabla beat pattern and harmonium enhance this fact.

Between mukhda & 1st stanza, the emotional raga tune is back followed by harmonium piece.

1st stanza

Himesh – the sufi rwak composer and singer is back to his usual antics by sudden abrupt pitch variations and prolonged twists-n turns in the lines MIL(sudden abrupt high pitch)NAAAAAAA(prolonged twist) from 2.37 to 2.42, DOLN(sudden abrupt high pitch)AAAAAAA from 2.47 to 2.52

Note the slow dying effect in line doln-AAAAAA as that is where the desperation feel and pain originates from.

From 2.53 to 3.09, Himesh curbs his natural aggressive instincts and sings with subtle feel.

From 3.12 to 3.26, Himesh goes inner soul searching with the power of his lower octave that is uses very selectively and the idea of these lines are inspired from AHISTA AHISTA TITLE TRAX from 0.23 to 0.42 which were just killer/ripper lower octave lines.

The build up process is amazing from 3.39 to 3.45 in unplugged mode and Himesh - the composer delivers the kill effect from 3.46 to 3.49 with off-da-hook laidback drum hit pattern, and this idea of 'overall kill effect' was inspired from the drum hit pattern used from 1.22 to 1.24 in OH JAANA LOVE U MISS U (ROCKY), but obviously the tempo and pattern were different.

Between 1st & 2nd stanza, the Indian string plays followed by vada tenu type harmonium.

2nd stanza

Himesh adds some emotional feel in lines from 4.16 to 4.45, especially on HASRAT (emphasis), HUM (soothing).

Himesh returns to his Ahista Ahista type lower octave from 4.45 to 4.58 with emphasis on CHAHE (subtle) at 4.49, rok-HEE (max lower octave) at 4.50

Himesh's line MILE (desperation emphasis) at 4.59

The faint clap effect from 5.13 onwards enhances the rhythm factor.

The song ends with profound harmonium piece in end.

Highlights of this song:

1. The best parts of this song are the lines SAJNA-AAAAAA(prolonged)-AAA(down twist) in terms of completeness effect, lower octave impact from 4.45 to 4.58 and 3.12 to 3.26, and the build up followed by kill effect from 3.39 to 3.49

2. Himesh's singing style with a mix of subtle feel 'shayariana ghazal' anzad and sudden abrupt pitch variation along with prolonged twists-n-turns in stanzas.

3. The gentle tabla pattern, harmonium piece, raga tune and Indian string instrument that gives this song its "semi-classical" identity.

Sisak Sisak Ke

The song begins with an acoustic guitar mainly used in rock songs.

The male rappers build up the song, followed by a raga tune.

It is an interesting combination in such a song.

The underlying faint bazz sound also helps in the build-up process.

From 0.52 to 0.54, from 1.02 to 1.04, from 1.26 to 1.28, and from 1.54 to 1.56 note the heavy rock instruments in the background that just hit it in 'raw' style.

The male rappers lines fixation, sedation, I am drowning, deep under...silently add on to this rock song.

From 1.32, the lines...phir bhi mera dil tujhko hi chaahe, HAAH (1.36). This is the first point of sike.

...phir bhi mera dil tujhko hi chaaHEEEEEA (prolonged dying effect) at 1.40 – 1.41...this gives sike.

Between mukhda & 1st stanza, a string tune plays followed by a cutting edge tune (2.03). This process continues until 2.19 and all this is merely a pre-sike building process.

Immediately from 2.20 to 2.24, the male rapper gives HELL lot of SIKE with energy filled lines.

Once again the emphasis is on the raw heavy rock metal instruments from 2.27 to 2.30.

1st stanza.

Totally energy filled sike-giving vocals.

The key to feel this sike is to listen to the TUNE SUR in background, most notably on the lines...jho lagaye na LAGE (tune sur in background at 2.32)...it actually changes the pitch i.e. goes to higher pitch behind the word LAGE...critical to feel sike.

Himesh sings in similar style he had asked KK and Shaan to sing in numbers like mohabbat hai mirchi, nikamma, basically an adjusted style and full of energy. The emphasis in each word is enormous.

From 2.48 to 2.50, the rap vocals take a chill-pill but Himesh takes the sike back with his so-called venomous lines...taba kare, naakam kare, naakam kare, marvaye.

The quick raw drum hit pattern from 2.53 to 2.55 were similarly used from 0.24 to 0.26 in WOH LAMHA PHIR SE JEENA HAI from KAJRARE in terms of overall intended effect (not da actual pattern!).

Special mention for heavy rock instruments.

Once again the HAAH (3.23)...chaahEEEEEA (3.27 – 3.28) is totally all about sike.

Between 1st & 2nd stanza, the male rap build-up the sike and this sike-building is continued by the heavy metal guitar, and from 3.46 to 3.48...Himesh - the composer just HITS IT.

The highlight of this song is in the manner / pattern the heavy rock instruments hit in the background, just like teasing the listener's pulse.

2nd stanza.

...zikr mehboob KA JAB (tune sur at 3.50 is the KEY in the manner it changes 1 sur up)...this is what gives maximum sike in the stanza.

Himesh takes the listener to a heightened state with emphasis on...AA JAYE, JAAN, DARDE, BE PANAH HAI...other lines are powerful too.

If the listener is searching for melody, franking there is NONE! It is all about feeling the sike with energy vocals and tune sur.

From 4.10, sahi lage kabhi gaalat lage...they are rather loud whispers.

The quick raw drum hit pattern from 4.12 to 4.14 were similarly used from 0.24 to 0.26 in WOH LAMHA PHIR SE JEENA HAI from KAJRARE in terms of overall intended effect (not da actual pattern!).

Highlights of this song:

1. Himesh's energy-filled singing in the stanzas.

2. The tune sur in stanzas wherever mentioned is the key to feel the sike factor.

3. The heavy metal instruments that just HIT IT.

4. The male rap vocals that enhance the sike build-up process.

In nutshell, this song is ALL about sike.

Miss the sike, miss the song!

If the listener considers the video, it is about "Monty is back".

On the screen, this song portrays Himesh's attitude and no-mess respect factor.

The listener can observe his facial expressions, they are very intense as if to prove a point.

He did that in Mohtarma also, but this time it is the OVER-CONFIDENCE that spoils it, and the song lacks that fire-power to match to that ROCKSTAR status.

Having said that, it does justice to the situation it the movie where Himesh wants the listener to feel him!

Well, not entirely but if carefully heard, the listener can feel elements of ADRENALINE flowing.

Tere Bin Chain Na Aave

The underlying beat pattern and raga tune give this song its semi-classical identity.

Himesh's OOOOOO pattern is likeable. It is a change from his usual UUUUUU's

Himesh's lines DEKH at 0.45 is sung with lot of passion.

The additional beat from 1.03 is great along with CHAIN NA AAYA simple repetitive pattern along with fast paced tabla beats.

Tulsi's line, DE (up note) EE(down note) EE (up note) at 1.35 is similar to the line TERE BAGAIR from TANHAIYAAN (AKS - THE MOVIEE).

Her line BEEEEE (quick up down classical twist) at 1.38 and CHAIN NA AAVE is melodious.

Between mukhda & 1st stanza, feel good typical Indian string instruments play followed by emotional raga effect.

1st stanza

Himesh expresses his feelings with high pitched lines TERE, JYATE

The string and flute tune used intermittently is feel good.

Tulsi's lines BERIYAA have a subtle melodious feel in them.

The raga tune pattern at 3.32 is the maximum emotional feel in terms of instruments.

Between 1st & 2nd stanza, more string based raga tune that is feel good in nature.

2nd stanza

Himesh expresses his feelings with high pitched lines JAB, JAANE, TUJH and MANZIL

The string and flute tune used intermittently is feel good.

The combined lyrics and vocals TUJSE BADA HI HOON MUDASSIR are actually sadistic.

Tulsi's lines BERIYAA have a subtle melodious feel in them.

From 5.05 onwards, cute flute tune with rising pattern plays along with computerized female vocals and fast paced tabla beats.

Highlightsof this song:

1. The underlying tabla beat pattern along with string tune, emotional raga tune (5.13), computerized female vocals and fast paced tabla beats.

2. The lines TERE BIN CHAIN NA AAVE with additional beats.

3. Tulsi's melodious vocals with line DEKHLE at 1.35 is best melody.

4. Himesh's emotional feel vocals with high-pitch emphasis in stanzas.

Mashah Allah

Himesh sings with SHARP KNIFE EDGE vocals with hardly any trace of nazal twang.

His singing may be with Sufi Rwak twists-n-turns but the underlying setting of the song is Indian semi-classical.

Himesh's opening line, MASHAH ALLAAAAAAA (prolonged) AAAA (quick down twist) from 0.02 to 0.06, 0.12 to 0.13 and SUBHA NALAAAAAAAAH (dying effect with tadap and ehsaas) from 0.07 to 1.10 & 0.16 to 0.18

The Indian string based instrument along with underlying tabla pattern give this song its semi-classical identity.

The bazz trumpet from 0.33 to 0.36 conveys very good emotional feel.

The shehnayi piece that follows only enhances this emotion.

Himesh's lines, TERA CHEHRA JAB SE DEKHA (terrific desperation plea) from 0.56 to 1.00

Himesh pours his heart out in line, DIL GUM SHUDA HUA WALLAH (terrific halke se desperation feel) from 1.01 to 1.04 followed by quick heavy beat pattern from 1.04 to 1.05

Himesh's line cheh-RAAA-AAA-AAA (3 step profound descending twists) from 1.15 to 1.18 are much like offering a muslim prayer.

From 1.27 to 1.39, the emotional pleas change into arrogant demands along with heavy underlying drum hits, with emphasis on ALLAH (off-da-hook arrogant feel vocals depicting sheer arrogance) at 1.32 as if the lover is enraged and venting out his frustration and displeasure to god. This combination is the key in the mukhda.

Between mukhda & 1st stanza, the combo of Indian string instrument, the painful bazz trumpet tune and Jayesh's desperation plea croons from 1.47 to 2.03 followed by shehnayi piece from 2.04 to 2.12 are all about emotional feel due to the fear and concern of separation.

1st stanza

Himesh croons with more feel effect.

The additional hard beats from 2.27 to 2.45 give good impact.

The lines from 2.45 once again shift from request to demand, and Himesh's vocals are SHARP KNIFE EDGE max in these lines especially DOGE TUM DOBARA.

Himesh's lines deedar KAAAAAAA (prolonged up down twist) from 2.49 to 2.51, and DEEDAR at 2.53 strikes the listener, followed by the low twist in KAAAA.

The sudden LOUDNESS of the instruments from 2.49 to 2.59 gets heavy on the listener.

In between 1st & 2nd stanza, a feel good tune plays with interesting tune sur from 3.34 to 3.35

2nd stanza

The intermittent violin piece convey emotion factors with emphasis on HR's line HAAAI (quick twist)

Himesh's line mumkin KARRR (feel twist) NA at 4.28

The sudden LOUDNESS of the instruments from 4.22 to 4.32 gets heavy on the listener.

The most interesting of this song is the prolonged twist in the shehnayi from 5.11 to till the end which is ditto same like HR's opening lines.

Highlights of this song:

1. Himesh's KNIFE EGDE vocals with emotional plea and sheer arrogance with the word ALLAH

2. The underlying subtle tabla pattern along with string instrument, the bazz trumpet effect, shehnayi prolonged twist, additional heavy beats that hit good and the loud instrument in ending of stanzas that give profound effect.

Mashah Allah - Female

This is both the unplugged and foot tapping rock (aka Rwak) version. Or simply put, it is the REPRISE version.

The female singer sings with melodious sweet halke se feel vocals, with emphasis on her lines, ALLAH-AAAA (trademark profound emphasis twist) from 0.16 to 0.19 & 0.47 to 0.48

The foot tapping rock beats kick in from 0.57 onwards.

Off-da-hook beat SKIP effect from 1.27 to 1.38

Ek Haseena Thi

Since the original tune was kept intact, more emphasis will be given to vocals and music arrangement.

The nazal twang in Himesh's vocals for this song is virtually non-existent.

The raw drum beat effect along with underlying beats from 0.31 onwards was similarly used from starting onwards in TERA SUROOR REMIX from AAP KA SUROOR.

A subtle guitar piece plays from 0.38 to 1.08

Between mukhda & 1st stanza, a haunt tune plays followed by an oriental flute along with Shreya's quick classical croons followed by haunt vocals.

1st stanza

Himesh sings with innocent soothing feel vocals and is complimented by Shreya's sweet melodious vocals.

The female groovy vocals from 2.42 to 2.44 are awesome.

Sherya's lines from 2.52 to 2.59 are melodiously likeable.

The soothing female chorus kicks in from 3.00 to 3.06

Between 1st & 2nd stanza, a synthetic piano piece plays.

2nd stanza

The groovy sound at 4.00

Between 2nd & 3rd stanza, more haunt vocals croon followed by a start-stop gap followed by quick beats along with funky guitar piece.

3rd stanza

From 5.13 to 5.20, Himesh sings with LOWER BAZZ OCTAVE vocals with sooth feel.

The music arrangement becomes grandly intense from 5.21 to 5.40

The funky guitar piece plays along with quick heavy beat pattern followed by haunt vocals from 5.40 to 6.10 followed by a start stop gap.

Himesh's lines from 6.25 to 6.39 & 6.51 to 6.59 have a little touch of sooth feel.

Himesh's lines from 7.00 to 7.06 with feel factor are his BEST in the song.

From 7.07 onwards, Himesh's sufi rwak croons along with haunt vocals end the song.

Highlights of this song:

1. Himesh clearly proves that he can sing non-nazal with his SUFI-RWAK voice and singing style (and not with a new voice and singing style which he later displayed in RADIO soundtrax).

2. Sherya's melodious sweet vocals.

3. The TERA SUROOR REMIX styled raw drum beat pattern and underlying beats.

4. The soothing female chorus, grand orchestration at desired parts, groovy and haunt vocals.

Dhoom Tere Ishq Ki - Remix

Its remix is given a U turn treatment in contrast to its slow semi classical original version.

There are two best parts in this remix. Firstly, the terrific BUILD UP from 1.07 to 1.13 with the quick CLAP effect that slowly gets da listener into da groove, followed by full on underlying peppy beats from 1.14 onwards that delivers the KILL effect and whereby da song becomes rhythmic foot tapping. Secondly, off-da-hook catchy remix tune piece from 1.30 to 1.46 and so on intermittently throughout.

The roll over special visual effects and quick flashes are off-da-hook and strike a chord

My Picks

1. Lut Jaun

The underlying beats are a loungish affair. Himesh sings with straight (without many usual twists n turns) passionate emphasis vocals. Himesh's BEST MUKHDA line is DIYA (pinching sensation, chubban ka ehsaas) at 2.03 & 2.09. OFF-DA-HOOK drum hit pattern from 2.11 to 2.14. BEST PART in song is when underlying beats gradually fade away and die down to a halt from 3.23 to 3.27 and are taken over by hard and sharp laidback skip beat pattern along with Jayesh Gandhi's catchy croons LUTJAOON * 4 (OFF-DA-HOOK desperation plea twists along with echo effect) from 3.27 to 3.40

2. Masha Allah

Himesh sings with SHARP knife edge sufi rwak vocals that give pricking sensation (chubban ka ehsaas). BEST PART in song is Himesh's line, DIL GUMSHUDA HUA WALLAH (literally pours his heart out, to give halke se feel kick) from 1.01 to 1.04 and MASHA ALLAH (OFF-DA-HOOK arrogant feel vocals) at 1.32 along with heavy underlying beat pattern.

3. Tere Bin Chain Na Aave

Himesh's line, JAA (OFF-DA-HOOK fulltu high-pitched) TEE at 2.34. BEST PART in song is Tulsi Kumar's line, DEKH LE from 1.34 to 1.36

4. Tandoori Nights

BEST PART of song is off-da-hook fast profound drum roll beats that give tremendous kick from 1.32 to 1.33 behind Himesh's unplugged lines RABBA RABBA.

5. Hari Om

The underlying music arrangement actually sounds like a remix arrangement. The slower set of drum roll beats followed by fast zooming drum beats from 0.46 to 0.47 & 1.56 to 1.56. The heavy rhythmic drum beats join in from 1.35 onwards. Himesh's BEST MUKHDA lines are OM-MMMM (TERRIFIC intense twist) from 1.41 to 1.42, 1.49 to 1.50 & 1.56 to 1.57. Himesh's sharp vocals in stanzas give a pricking sensation.

6. Dhoom Tere Ishq Ki

BEST PART is Himesh's BUILD UP lines in unplugged mode DHOOM DHOOM DHOOM TERE ISHQ KI from 3.39 to 3.45, SAJNA (along with DRUM HIT PATTERN that gives KILL EFFECT) from 3.46 to 3.49

7. Soniye Je Tere

BEST PART in terms of instruments is OFF-DA-HOOK profound heavy Arabic quick skip pattern from 0.30 to 0.31 and so on. Underlying beat has a CULT skip pattern. The fast-paced subtle tabla beats from 2.50, 3.07 & 4.23 onwards give great overall effect along with vocals.

Underlying cutting edge beat has a repetitive cult skip pattern and off-da-hook profound heavy Arabic quick skip pattern from 0.30 to 0.31 and so on. Fast-paced subtle tabla hits from 2.50, 3.07 & 4.23 onwards catch listener's classical pulse. Tulsi's lines, JE TERE (TERRIFIC high-pitched melodious twist) from 2.53 to 2.55, TERE RAB KARE (melodious CUTE vocals) from 3.00 to 3.01, 3.05 to 3.06 & 4.17 to 4.19, ME-EEE-EEE (off-da-hook catchy profound Sufi Rwak twist) from 3:06 to 3:07 & 4:18 to 4:19

8. Sisak Sisak Ke

It is a stage song with rock touch along with some rap-n-reggae. Himesh's side view pose from 0.24 to 0.37 is rwakin. Himesh's line, CHAAHE (halke se feel vocals) from 1.34 to 1.35 & 1.36 to 1.37, Off-da-hook male rap vocals from 1.43 to 1.51 give jazba, along with super kool dance moves. It is an intense roller coaster ride in stanzas whereby Himesh sings with arrogant feel vocals, and his red shirt along with red shades of lighting from 2.52 to 3.00 in 2nd stanza enhances the intense mood whereby josh, junoon aur jazba sar chad ke bolta hai.

In ranking my picks, I am quite well aware of da fact that Dhoom Tere Ishq Ki is da fav song of many Himesh fans from this album:

> Due to Himesh's vocals with feel factor.

> Konnection with da line AUR THODI DER ME HUM JUDA HO JAYENGE as it has an emotional appeal.

But in my view, this song works more so in parts (i.e. Himesh's lower octave stanza lines from 3.12 to 3.25 & 4.45 to 4.59 and off-da-hook raw drum hit pattern in unplugged mode from 3.39 to 3.49) rather than in totality due to its slow semi classical tempo along with decently average composition (i.e. its repeat hear value is not as strong as compared) and that's why the songs ranked above outscore it in this facet.

The melody in terms of composition notes should compensate for the slow paced nature of SEMI CLASSICAL genre songs for a great REPEAT HEAR VALUE (i.e. few of Himesh's best semi-classical works like Yahi Hota Hai Pyar, Afreen and Ishq Ne Tere perfectly depict this fact) and Dhoom Tere Ishq Ki falls back to an extent on this count.