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HORN OK PLEASSS, a frothy popcorn entertainer brings back
lively Nana Patekar back in contention as one of formidable
lead players in the business. This Rakesh Sarang's directorial
debut with Lalit Pandit chairing up the music director place
comes out with low profile and bleak expectations. Like unconventional
TAXI NO.9211, the feel is presumed to be innovatively entertaining
for multiplex viewers. On flip side, Lalit Pandit has still
not triumphed as solo composer in the marquee and this album
too comes out with zilch expectations. Can HORN OK PLEASSS
be breaking the ice and giving out the first probable commercial
hit to Lalit Pandit as solo composer? Let's check this out!
In a film that is titled with popular catch-line on almost
every private vehicle (HORN OK PLEASSS), one could have easily
anticipated track like ''Pom Pom Pom'' to be its introductory
number. Neeraj Sridhar, a title track specialist in almost
every Pritam's album jesters out this energetic track that
has hilariously shades to it and is infused with peculiar
sounding sounds (primarily horns) with sluggish westernized
orchestrations in its backdrop. In terms of contents, it sounds
thematically similar to Vishal-Shekhar's ''Meter Down'' (TAXI
NO 9211) and is presumed to be an impounding promotional track
where all lead players sizzles out the comical feel of flick
in playful gestures. It gets a generous replication in its
''remix'' version where it gets a peppy ''club- house'' stylized
gyrated feel in its musical flows. Lalit Pandit along with
lyricist Sajid Farhaad delivers out an appropriately amusing
number but still the feel is restricted to its cinematic viewing
and fails to be as striking as ''Meter Down''.
Sizzling Sunidhi Chauhan, a specialist among hot-selling
''item numbers'' scores out the biggest bonanza of the album
as she lights up affair with an energetically pulsating track
in ''Nathani Utharo''. This Salim Bijnauri's spicily penned
track has strong inspirational lifts from earlier hit ''item
numbers'' (''Beedi'' (OMKARA) and ''Kajrare'' (BUNTY AUR BABLI))
where bouncy orchestrations collage affably with catchy composition.
Lalit Pandit gets the fine amalgamation of instrumental works
in racy flow of thumping keyboard notes to deliver raunchy
impact and is likely to be getting attention in marquee for
this massy soundtrack. After sizzler like ''Dekhta Hai Tu
Kya'' (KRAZZY 4), this lucratively enticing track (second
communion of Sunidhi Chuhan and Rakhi Sawant) with effervescently
thumping feel is likely to be eye-candy and should be catalyzing
factor in film's promotion. Toshi's folksy back-up vocals
adds rustic flair to it and works well to subjugate the spicy
''nautanki'' surroundings to it. The resonantly loud ''remix''
version is another ''dhin-chak'' promotional feature track
that is likely to be adding positive hues and vibes for the
film's prospects at the box office.In terms of theatrically
amusing feel, Lalit Pandit tries to recreate the hilarious
tinges of ''Love Rap'' (KRANTIVEER (1994)) in yet another
playful track ''Ayela Ayela''. Sudesh Bhonsle's grumpily loud
vocals lead from the front along with Bela Shende's shrill
voice in 80's brooding and routine sounding arrangements.
Nana Patekar voice out some one-liners in intoxicating mood
to evoke out a massy appeal that is likely to attract front-benchers.
After run-way success of ''Khuda Jaane'' (BACHNA AE HASEENO),
Shilpa Rao is presumed to hot commodity and the expectations
are soaring high as she piles up another ravishingly hot number
with ''Love Me Baby''. It comes out as welcome relief for
ears and the one attribute that should be working positively
for both listeners and album's interest. Shilpa's peculiarly
sensuous voice in modulating tones is amiably coordinated
with trendy hip-hop emceeing (by Earl) in delivering out an
upbeat dancing feel on floors. Lalit Pandit's delivers out
a decent attempt in showering out the feminine oomph in his
thriving musical composition. It's likely to be adding as
one positive entrant in Shilpa Rao's kitty but still it's
far away from being labeled as ''chartbuster'' material.
After getting in form with ''Love Me Baby'', Lalit Pandit
makes another commercially positive move by roping in ''hot
''n'' happening'' KK along with Shilpa Rao in ''yuppie'' loving
soundtrack ''Oya Oya''. It thrives out with moderately paced
arrangements that are repetitive on percussive elements and
high on KK's domineering vocals. This party-loving is nevertheless
a decent-hear number but the youthful flair and catchiness
are strikingly missing.
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