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.
The finale comes in typical ''Maharastrian'' folksy outburst where loud thumps, bangs of traditional instrumentals comes booming with Nana Patekar and Jaywant Wadkar's vocals in ''Awaaj Kunacha – Govinda Cha''. It's again a situational festive track penned by Shrirang Godbole that is likely to be having more takers among Marathi listeners than delivering out any universal appeal.
Lalit Pandit's second inning as solo composer fails to pick up with lackluster melodic display in HORN OK PLEASSS and once again the feel is strictly reduced to the needs and demands of the flick. It's most promising prospect lies in raunchy item number ''Nathani Utharo'' and likewise there is glimmer of hope in tracks like ''Pom Pom Pom'' and ''Love Me Baby''. The loud horns of HORN OK PLEASSS hardly creates any audible sounds and is likely to be calming out with due course of time.