Music review analysis of Himesh Reshammiya's album Apne (2007).


Since this is a stage song, it ought to be filled with energy.

Every time the listener thinks that Himesh has exhausted his Sufi Rwak tune bank, he comes up with yet another such fresh composition.

However, as far as his usual twists-n-turns are concerned, he is back to his old antics.

Hmesh's lines, ON THE FLOORS are meant to give sike and the way he says HIT IT is also cool.

From 0.18, the violin pattern piece that follows is the theme piece in essence, it plays intermittently throughout.

Himesh's line, DIL MEIN (off-da-hook twist) are the HIGHLIGHT of the song.

Himesh's line, gawaraaAAAAAA (normal note, up note, normal note) from 1.10 to 1.11 & 1.34 to 1.35 is great.

1st stanza

Very typical usual sufi-rwak style from 2.02 to 2.18

From 2.20, he goes bit subtle before a high pitched prolonged twist on the line JAAAAAN.

The line NAHI * 4, is also feel good.

Between 1st & 2nd stanza, Himesh gives liberty to Jayesh to croon with feel good vocals.

2nd stanza

Very typical usual sufi-rwak style from 3.28 to 3.43

From 3.45, he goes bit subtle before a high pitched prolonged twist on the line ITNEHAAAAAN.

Himesh's line...tere ishq KAAAAAA (feel good twist) from 3.58 to 3.59 is nice.

The metal guitar behind the lines FASANA * 2 does a great job.

Highlights of this song:

1. Himesh's old feel good vocals with twists-n-turns on a fresh sufi-rock tune.

2. The violin theme piece used throughout the song.

3. The lively underlying beats that make this a stage song.

4. Jayesh's feelgood croons in between 1st and 2nd stanza.

Himesh's lines DIL MEIN (prolonged feel good twist) is the best melody.

Dekhu Tujhe Toh Pyar Aaye

This song has an experimental take by Himesh in terms of composition pattern and orchestration, thus a different song from his usual Sufi Rwak stock.

This is a middle octave song.

The song begins on a mysterious note with male haunt croons from 0.08 to 0.40 along with oriental flute piece.

Underlying laidback rhythmic beat with CLAP effect has intermittent 2 drum hit pattern (similar to the 2 drum hit pattern in TU YAAD NA AAYE AISA KOI DIN NAHI from AAP KA SUROOR) with a good THUMP effect which gets da listener into a foot tapping groove.

However this song will get the listener into de groove in the stanzas.

The mukhda acts as a build up to the awesome stanzas.

Between mukhda & 1st stanza, the background male chorus and flute in semi-plugged mode enhance the oriental feel. The sudden clap effect from 2.00 gives a kick.

Stanzas are very feelgood &lyrics go hand in hand with beats.

1st stanza

From 2.32 onwards, the female voice (that is modulated for an extra faint low voice), o mere REHENUMAAN (voice deepening with twist, TERRIFIC), DASTAAAAAAN (deepening, awesome).

At 2.49, song gets unplugged, tu hi mera jahaan.

At 2.52, underlying beats kick in after the semi-plugged beat and Himesh takes over. By now the listener gets into the groove and starts feelin the unusual mukhda.

From 3.02 to 3.03, yaad SAATAAAYE (twist) is the same twist as aaye mujhe SUKOON (twist) in JUNOON JUNOON from ROCKY.

Between 1st & 2nd stanza, a passionate violin piece is joined in by groovy computerized phone line tones from 3.20 to 3.27

2nd stanza

Special mention for rhymying lyrics.

It has vintage trademark Himesh Reshammiya singing style with his typical stamp (that no other singer can emulate) which gives this song its distinct touch.

Himesh's lines, mujhpe jo chaaya hai tera JUNOON (OFF-DA-HOOK profound emphasizs twist, listener sways to da groove) HAI, tu meri bechani mera SUKOON (OFF-DA-HOOK profound emphasis twist, listener sways to da groove) HAI, tera pyar ae sawar mujh pe to IS KADAR (TERRIFIC slogan).

Himesh's lines, ek siwa TERE na aaye KOII (twist) NAZAR (slogan) is sung with off-da-hook BREATHLESS effect that gives jazba to da listener. .

From 3.32 to 3.48 is simply rhythmic, foot tapping and sike-giving to an extent. It really gets to the listener and is BEST part of the song.

From 3.49 onwards, aur gehre huiIIIII (voice deepens) dil ki gherayIIAAAAN (voice deepens) aab to gawarah nahiIIII (voice deepens).

From 4.08 onwards, the mukhda now makes complete sense and in sync with antaras, special mention for AATI HAI AATI HAI (terrific) from 4.12 to 4.14

Highlights of this song:

1. Underlying rhythmic foot tapping beats.

2. The second stanza from 3.32 to 3.48 that gets listener totally into da groove.

3. Female modulated voice that includes a faint low additional voice.

4. The oriental haunt tune and vocal effect, phone line tones and violin piece.

There is a repetitive DRUM HIT pattern in the underlying beat and this similar DRUM HIT pattern effect was also used in the underlying beat of TU YAAD NA AAYE from AAP KA SUROOR.

Apne Toh Apne

The song starts with a very subtle laidback beat whereby the listener visualizes the Deol family walking and hugging together somewhere in an interior 'khet of Punjab' followed by an oriental flute which gives a whistle type sound.

Himesh inspires Sonu to croon of his typical sufi-rock twists too.

Sonu's line, SAPNE-EEEE (twist with echo effect) at 0.30 is nice.

Sonu's line, hoote HAAAAIN (terrific up down desperation plea twist gives halke se kick) from 0.35 to 0.36 followed by raga tune.

From 0.38, aapne to aapne hote hain...when himesh composed this line, he had the line in mind...TENU DIL VICH RAKHLU JAANE MAN from MAIN AISA HI HOON.

The raga tune sur in the mukhda gives great effect. It is the theme piece and used intermittently.

The beat from 0.54 that has traditional roots / values of "inner pind" has a pattern as if the tractor is ploughing the crops in the fields (jaise khet me hal chalta hai) and it associates with the wet mud smell and wonderful sarson ka saag and makhi ki roti (a typical traditional Punjabi staple food speciality).

The 3 key keyboard tune (rising by 2 notes each) from 0.54 to 0.57 is great.

Jayesh does a good job in his croons that gives a desperation feel element.

From 1.44 to 1.53, sonu is at his soothing best that is his specialty.

Sonu's lines, DIL KI SURKH DEEWARO PE is inspired by Sameer's same previous lyrics in NAAM HAI TERA from AAP KA SUROOR.

The fast paced tabla beats at 2.11 followed by 3 slow additional beats at 2.13 give sahi desired effect.

The lines...TERE SANG LAAD LAGAVA WE TERE SANG PYAR NIBHAWA WE is typical old himesh composition style (typical unique HR melody).

Emphasis on lines...lagaWA (sonu) at 2.48, 2.54...NIBHAWA (jaspinder) at 3.02

1st stanza

The composition pattern is simple yet effective and is sung with Sonu's soothing feel vocals.

Between 1st and 2nd stanza, a nice string instrument plays followed by raga theme piece.

2nd stanza

It is meaningful with feel factor and emotional bonding.

The song finishes with a slower raga tune with emotional feel quotient (emphasis from 6.25 to 6.27 that gives terrific halke se feel).

Highlights of this song:

1. Sonu's soothing feel vocals and jaspinders impactful vocals.

2. The inner interior pind beats tailor-made for such a traditional song setting.

3. Jayesh's croons, emotional feel raga theme piece, fast tabla beats and 2 slow additional beats wherever mentioned.

Ankh Vich Chehra

The song starts with a been tune pattern that is the theme piece in essence.

Himesh's line dildar-VEEEEE (twist) from 0.25 to 0.26, 0.42 to 0.43 is very much sufi-rwak composition style.

The 4 raw drum beats from 0.45 to 0.46, 1.58 to 2.00 is great build up.

The beats are rhythmic with Punjabi flavor.

Himesh's singing from 0.46 to 0.59 is sung in casual manner.

Shaan's and KK's lines are sung with feel good vocals.

Himesh's lines from 1.31 to 1.48 are very much the sufi rwak composition style.

Between mukhda and 1st stanza, Amrita Kak's English vocals are interesting mix of lyrics by Sameerji as he did in CHEENA RE from TOM DICK N HARRY in lines WANT YOU ALL THE TIME MAHIYA VE.

1st stanza

The composition pattern is very much sufi rwak especially from 2.56 to 3.09

From 2.56 to 3.09, the heavy drum pattern in sync along with HR's vocals in unplugged mode is great build up followed by energetic male vocals HAAI that increase the tempo again.

Between 1st and 2nd stanza, Amrita's English croons are back followed by a Punjabi folk tune.

2nd stanza

The composition pattern is very much sufi rwak especially from 4.13 to 4.26

From 4.13 to 4.26, the heavy drum pattern in sync along with Himesh's vocals in unplugged mode is great build up followed by energetic male vocals HAAI that increase the tempo again.

The song ends with the theme piece.

Highlights of this song:

1. Himesh's casual sufi rwak singing style, KK's and Shaan's feel good vocals.

2. The underlying full on Punjabi flavored beats, Punjabi tunes and 4 raw drum hits.

3. Himesh's unplugged build up part in stanzas followed by energetic male croons HAAI.

4. Amrita Kak's English feel good vocals.

This song is just about okay sokay in terms of melody and orchestration but it is custom made for Punjab da Sher Dharminder and his two puttars to do their thing.

Bulls Eye

Himesh lets the rapper Earl go solo with this one.

The beat comprises of a continuous metal guitar and heavy 1 hits after regular intervals.

A funky guitar piece plays from 0.10 to 0.17

Earl sings with feel good vocals on a simple trademark HR sufi rwak composition style in terms of PITCH VARIATIONS i.e. from low to high pitch and so on so forth.

The lyrics are rhyming and inspirational.

The rap from 1.44 to 1.52 & 2.10 2.22 is effective.

From 2.38 to 2.52, Shaan brings unexpected passionate feel along with MATKA SKIP beats (in an other wise feel good song), with emphasis from 2.43 to 2.44

The funky guitar piece at 0.09 & 3.01 was also used at 0.01 in ULFAT from NANHE JAISELMER.

This is a full on rock attempt by Himesh and there is no reason why he cannot make Hindi rock ballads in the near future.


The Deols have very good reasons to rope in Himesh again for their any forthcoming projects because he gave them an apt score in Apne. Mehfooz was a full on Sufi Rwak stage number to enhance Bobby Deol's persona as he played a rwakstar in da film. Dekhu Tujhe Toh Pyaar aaye was a refreshing experimental track which enhanced da romantic angle and chemistry in da love story between Bobby and Katrina Kaif. Ankh Vich Chehra was that perfect celebration Punjabi song for a family gathering, and Apne Toh Apne Hote Hain depicted da emotional konnekt between da father and his two sons and bonded their storyline together, with its orchestration having Punjab ki mitti ki khushboo thus doing justice to da backdrop setting of da film.

My Picks

From Himesh's "sung n composed" songs:

1. Dekhu Tujhe Toh Pyaar Aaye.

Underlying laidback rhythmic beat with CLAP effect has intermittent 2 drum hit pattern (similar to the 2 drum hit pattern in TU YAAD NA AAYE AISA KOI DIN NAHI from AAP KA SUROOR) with a good THUMP effect which gets da listener into a foot tapping groove. The song begins on a mysterious note with male haunt croons from 0.08 to 0.40 along with oriental flute piece. Computerized phone line tone from 3.20 to 3.27 in between 2nd stanza gap. Himesh sings in MIDDLE OCTAVE range. His lines in 1st stanza are a build up for da 2nd stanza in which Himesh sings with his vintage singing style. Himesh's lines, JUNOON (terrific profound twist) from 3.34 to 3.35, SUKOON (terrific profound twist) from 3.38 to 3.39 get da listeners into da zone. His middle octave lines in 2nd stanza, MUJHPE JOH CHAAYA HAI TERA JUNOON HAI...TU MERI BECHANEE MERA SUKOON HAI...TERA PYAR HAI SAVAR MUJHPE IS KADAR (terrific emphasis singing)...EK SIWA TERE NA AAYE KOI NAZAR (OFF DA HOOK breathless singing gives jazba) from 3.40 to 3.48 are his BEST vocals in da song. Akriti Kakkar's line in 1st stanza, REHHUMAAN (terrific prolonged vocal deepening emphasis twist) from 2.34 to 2.36 is her BEST line.

The BEST orchestration in its music video is OFF-DA-HOOK catchy guitar riffs from 1.58 to 2.00, followed by Akriti's Kakkar's lines O MERE REHNUMAAN TUJHSE HAI HAR DASTAAN with semi plugged beats that get da listener into da zone from 2.00 to 2.07 are the BUILD UP part, followed by her lines TU HI TOH MANZIL MERI TU HI MERA JAHAAN from 2.08 onwards whereby the underlying rhythmic beat delivers da KILL effect and makes da listener feel it big time. Himesh's line, CHAAYA HAI from 3.01 to 3.02 in 2nd stanza is incredible middle octave emphasis singing that strikes a chord.

2. Mehfooz.

Himesh's BEST LINES are DIL MEIN (terrific profound twist) from 1.37 to 1.38, 0.46 to 0.47 & 1.21 to 1.22. Jayesh Gandhi's passionate croons in between 2nd stanza gap from 2.55 to 3.09 are catchy.

3. Ankh Vich Chehra.

From Himesh's "composed only" songs:

1. Tere Sang.

2. Bullz Eye.