Shreya Ghoshal sings in a manner similar to ‘Piyu Bole’ and one almost starts searching for Vidya Balan somewhere in the background. Laced with a trademark Shantanu Moitra flavor, ‘Sakhi Piya’ is yet another track with very strong Indian classical music base to it. Rafi era of the 50s/60s, ‘O Re Paakhi’ is a track that highlights the plight of a wandering soul searching for a stable ground. A sad track which again tales you back to the Mohd. With a faint sound of piano in the background, this difficult composition requires Sonu to be at his attentive and engaged due to it’s slow moving nature and a poetic feel. With last couple of songs being female solos, it is time for Sonu Nigam to hold center stage with ‘O Re Paakhi’. The romantic track moves at a lively pace and forces a listener to give it a repeat hearing due to it’s melodious nature and a ‘Moulin rouge’ setting! Hansika is excellent in ‘Khushboo Sa’ which has a haunting appeal to it with an all around combination of some very good composition and great arrangements (watch out for the saxophone here). Remember Hamsika Iyer who had sung the mesmerizing ‘Chanda Re’ for Shantanu Moitra and Swanand Kirkire in Eklavya – The Royal Guard? She gets to sing one of the best tracks of ‘Khoya Khoya Chand’ as the album gets into the jazz mode again. A track which moves from being moderately paced to even slower as it reaches half way through, it turns out to be a situational piece which keeps the classy feel of the album intact.
A ‘mujra’ which comes with the expected sounds of ‘ghunghroo’ and ‘tabla’, ‘Chalo Aao Saiyan’ is set in a semi-classical mode. It is a different Shreya Ghosal that one hears the moment she hits the first note for ‘Chalo Aao Saiyan’. She not just matches Sonu at every step but at places even leaves her stamp to make people stand up and notice. On the other hand, Antara Chaudhary, who has been trying to make her presence felt as a playback singer for last 3-4 years, is quite competent too in ‘Yeh Nigahein’. The choice of singers is apt here as Sonu Nigam, who has been quite selective of late, gets into a perfect Mohd. Well, ‘Yeh Nigahen’ is a live example of how a song truly falls justifies such a reference. One has heard of references to ‘madhoshi se bhara geet’ in the past. A good start which should make for a high intensity viewing on screen.Ī bona fide jazz track set truly in the style of 50s is heard next in the form of ‘Yeh Nigahein’. Swanand and Ajay sing in perfect harmony and for a listener, it is a seamless composition to relish and give a repeat hearing. A song which begins with a hint of jazz and transitions quite smoothly into a ‘qawalli’, Khoya Khoya Chand comes with a high lyrical quality and boasts of a catchy combination of rhythm and melody.
Two lyricists, Swanand Kirkire and Ajay Jhingran, get together to wear a different hat and instead come behind the mike for the title song Khoya Khoya Chand. Since Shantanu and Swanand have demonstrated their stranglehold over period music in Parineeta earlier, there is little doubt that Khoya Khoya Chand would take one down the memory lane as well. The same composer-lyricist jodi of Shantanu Moitra and Swanand Kirkire, who came into limelight after Parineeta and Lage Raho Munnabhai, is repeated for Prakash Jha produced Khoya Khoya Chand which is a period film based on the Hindi film industry of the 50s/60s. Even though the soundtrack had arrived on stands months before the film hit the marquee, it started making an impression amongst the connoisseurs of quality music only later. When Sudhir Mishra’s last directorial venture Hazaron Khwahishen Aisi released, ironically both the film as well as it’s music was appreciated much after the film came and went off the theaters.
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