Khelein Hum Jee jaan Sey starts with a blow. The composer of What’s your Raashee and now this, Sohail Sen, comes up to sing the first song, Yeh Des Hai Mera, himself. The good thing about the song is that the words in the song are quite good, and music is beautiful, while Sohail has done quite effective work on his voice, though quite a lot of it seems done with the machines out there. Still, the song is lovely. Nice to have a patriotic-positive song with some soft music at the time when even romantic songs are moving towards rock. Do listen to this.
The next song, Nain Tere, sung by Pamela Jain and Ranjini Jose, is something traditional, that tries to sound a bit like Lagaan’s O ri Chhori, but since the song doesn’t have a male voice, it doesn’t quite go that way, keeping the song a bit different. The traditional style of music is good but the attention it requires will be available to the song is doubtful. Like it.
The title song, Khelein Hum Jee Jaan Sey, which credits only Suresh Wadkar, seems to be sung mostly by chorus and while some words sound ambiguous, at least until you try hard, the rest of the song is good. The song doesn’t exactly give you an immediate high but you get the feeling of revolt in the words Khelein Hum Jee Jaan Sey. Likeable, but nothing too great. Most useful as the background theme in the movie.
Sohail Sen and Pamela Jain’s Sapne Saloney has a huge hangover of What’s Your Raashee’s (probably the best) song Bikhri Bikhri si Zulfen hain Kyun. Sohail singing both the songs himself doesn’t help matters. Pamela sounds good in the song, and makes me feel they should have taken any other male singer for the song. Still, the song is okay and one may like it anyway.
The next song in the album is Vande Mataram, translated into Hindi by the lyricist of the movie, Javed Akhtar. The music of Sohail’s composition is quite close to the version of the song in Anand Math (1952), which seems very deliberate, of course. As far as translation are concerned, Javed sir starts quite beautifully but then get lost in pure Hindi words like ‘tere charano ka chumban lein hum, sheetal muskan tera karam,’ making the song almost as alien to common man as the original Vande Mataram. Thus the song doesn’t serve much purpose, though the effort put into the song can be seen there. Somehow the song reminds me of Commonwealth Games’ Opening ceremony. with all the different sounds singing together.
The next track, less than two minute long instrumental Long Live Chittagong is a good piece of music with the title’s theme in many instruments, many of them very Indian. Very like.
The next track, teenagers’ whistle, starts where the last ended, and you probably won’t know when one ended and the other started. This one gets a bit slow in places, but some sounds especially in those very slow places are very lovely. Should make a good background score in the movie. Just a bit too lengthy at four minutes. But like the way producers have put this instrumental music here. At least till now. Though there are many more instrumentals to go and my thoughts ‘may’ change.
Surjya’s Sorrow again is an instrumental but this one is deeper and has some more effects. The tune is very slow but Sohail has mostly picked his instrumental pieces from songs only so you do not feel like you’re listening to something completely unknown. Okay.
The next is an instrumental piece for Vande Mataram, the movie version. Start’s quite okay, but near the end it turns almost sad/thinking/gloomy kind, which I didn’t like much.
The last instrumental piece is called Escape and gives you, as you can guess, an espionage feeling, but in a more Indian way, very unlike a bond movie or Mortal Combat, except for a little small part. For a few seconds you may have a slight feel of ’70s Amitabh Bachchan movies too.
The next song is a sad version of Nain Tere sung by Pamela Jain. This one too is more of an instrumental as there are very few words in the song. Okay stuff.
The last track of the album, Revolutionary Comrades is again an ‘almost instrumental’ which starts off quite softly but turns into a rebellion anthem slowly. Of all the instrumentals, Sohail gives his best here and this can be seen, oops, heard. Quite liked this one.
Overall, Khelein Hum Jee Jaan Sey should be considered a good album as there is not much scope of creation considering the mood of the film. In fact the album reminds me of Rahman’s Bose The Forgotten Hero, which in itself is not a small thing. Though, comparing the two albums isn’t suggested.
KHJJS has some good songs and some good instrumentals too. Especially the first three songs show that Sohail has quite some talent, but then he needs to work more upon it and also leave the greed of singing more and more of the songs himself, something which has gone quite negative for the album’s fourth track, Sapne Saloney. Rest, I say, is good. Hope to see Sohail getting more directors to work for and more singers working with him. For now, my first suggestion is, DO listen to Yeh Des Hai Mera.