NO ENTRY entered the marquee with great success and now NO PROBLEM promises "problem-free" entertainment from the stable of Anees Bazmee, a name that enlightens the genre of slapstick comical entertainer. It's almost half a decade when NO ENTRY (2005) that made its triumph, followed by equally amusing WELCOME (2007) and SINGH IS KINNG (2008) and setting cash register ringing with its fun-filled formulas. NO PROBLEM reinstates these formulas with a brigade of A-list actors, nonsensical comical plots, larger-than-life visuals and peppy music to exude out a "feel-good" laugh-riot. Like the audio packaging of WELCOME, this one too brings on array of music composers (Sajid-Wajid, Pritam and Anand Raj Anand) to deliver out the needful for this comical bumpy ride. Slapstick comical rides have already been high on crowd-pulling catchy numbers, raunchy item tracks and jesting melodic soundtracks that have mobilized the flow of hilarious happenings in these flicks. Does the music of NO PROBLEM deliver all these elements in its audio packaging? Let's detail out its musical proceedings...
After composing the fun-filled anthem-ic title track of WELCOME, Sajid-Wajid pick up similar frothy set of arrangements that is full of energy and high on pulsating beat-patterns in the title track "No Problem". Wajid leads the bandwagon of singers with loquaciously loud support of Suzzane Demello, Khurram Iqbal, Bhishak Jyoti, Kamal Khan, Suganda Mishra and Altamash Faridi, singing in tandem to give out a laudatory tempo to this lively soundtrack. The word-of-publicity about the title of the flick gets a commemorative boost with loud cheer-up chorals, thriving arrangements with ample support of enthused leading voices. It could be effective background score or an opulent visual spectacle with ensemble of star-cast in modish attires. It's a decent start to the album with expectations of hearing more such entertaining situational scores in latter credits listing.
Hips don't (or do they) Lie! Colombian's musical prodigy Shakira gets a Bollywood tribute in one of its most lavishly choreographed songs with loads of "dhamaal" and "masti" in chartbusting "Shakira". This flamboyantly loud soundtrack comes out as a "desi version" tribute to the singer's super-hit number "Hips Don't Lie" ("Shakira bhi se zyada tera hille lak ni...) as laudatory praise to girls-on-floors. Master Salim's thin voiced crooning bring out earthen Punjabi folksy flavor that connects well with rhythmical "dhol" drumming with a punch of raunchy tones of Hardkaur and Kalpana in exuding "bhangra-beat" fervor on floors. Pritam's hip-shaking composition works progressively on catchy arrangements while Kumaar's playfully roguish wordings complements well to the naughty cum festive mood of the track. It has been rightfully promoted and will be a big hit among DJ marriage parties in days to come.
"Shakira (remix)" adds to the party fun and intoxicates with added dosage of "club-remix" stylized DJ spins and scratches in giving it out a typical late-night party treat. The enchanting electronically synthesized fillers with beat juggles give it an extra thrust in making it entertaining commodity for floors.
Punjabi "Balley-balley" flavors re-lives on with spicy tinge and comes out with extra urbane hip-hop zest in pulsating sounding "Babe di kripa". Combo of Pritam-Kumaar recreates the similar "bhangra" frenzy decorum with composition that strikes big arrangements similarities with "Bas Ek King" (SINGH IS KINNG) and "Uncha Lamba" (WELCOME). It's racy and outrageously animated with a backdrop of traditional rustic Punjabi folksy musical instrumentals and sounds. Vikrant Singh's indifferent sounding voice may sound peculiar but carries typical folksy punch that is omnipresent in many folksy Punjabi pop albums. Humorous by nature, it has likable feminine oomph of Kalpana that mixes with loud "dhol" cum percussions and makes it another dazzling looking festive track. Despite catchiness in its racy flows, its scintillating outlook and rich star-appearance will be its big assets in making this a striking factor for flick's success.
"Babe di kripa (remix)" races up the proceeding with peppery spicy DJ spins that collides well with Kalpana and Vikrant's aggressive voices. Once again, it's another triumph in "remixes" section and fuels up passion for party animals in ballistic set of disco beat fillers, a noticeable job by DJ's in appreciating commercial viability of the album.
The third consecutive offering from lyricist Kumaar and composer Pritam comes out as a complete downer in the format of 80's disco style dancing track in the form of "We are Innocent". After rendering out a fabulous performance in "Sadka Kiya" (I HATE LUV STORYS), singer Suraj Jagan gets a raw deal in this average sounding composition that sounds like a mixed and match of 80's songs with inputs of trendy hip-hop jives. Extra loud arrangements and wayward singing kills the zest of the flavors and all it ends up as another average situational score. It's strictly situational and should be more feasible to watch on big screen.
From the raw sensual appeal of "Uncha Lamba Kad" (WELCOME) to now "Ho kadd lamba chaudi chest chest...", Anand Raj Anand's foot-tapping music always has a strong massy "bhangra" beat appeal. "Mast Punjabi" comes out as the last offering of the album with promise to create stir among its target listening audiences. Anand's frisky voice leads the show and is well matched with Sunidhi Chauhan's enthused vocals and sets mood for a zesty dancing evening. It's an above average situational score that should find trapping of slick choreographic moves to create mass hysteria. It may not be as catchy as "Uncha Lamba Kad" but has sufficient booze and buzz to make booty shake on the floors. As far as it's on-screen grandiloquence is concerned, this soundtrack pitches all leading men as "turbanators" (aggressive Sikhs) with loads of glitzy "jhatkas-matkas" from leading ladies, making this as the most vibrant soundtrack of the album. Its commercial success is likely to be more in the North Indian belt, especially in Punjabi speaking region, and if the flick hits the jackpot then do expect this number to be favorite among all leading TV and radio channels.
Extra Punjabi "masti" is imbued with loads of DJ antics that make "Mast Punjabi (remix)" as another foot-thumping remix offering of this packaging. The energized thrive in fillers with DJ spins are well inundated with ample support of boisterous vocals in giving this a feisty appeal.
NO PROBLEM is a madcap musical journey that brings "no-thinking-caps" type of entertainment back on its feet with a set of soundtracks that are high on "bhangra" beat compositions. Pritam's music makes the fervor high with "Shakira" and "Babe di Kripa" while Anand Raj Anand and Sajid-Wajid deliver reasonable entertainment with "Mast Punjabi" and "No Problem". For all those listeners who have a strong liking for "bhangra" numbers, this album will be good addition to their collection. No big histrionics to offer, but still the feel is completely massy and is likely to be raising high with the album's promotion and film's box office success.