Music Review : Horn... Ok... Pleassss

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.