[an error occurred while processing this directive] The anthem track 'Drona' (sung by Dhruv himself) opens up proceedings and it has the kind of sound which just fits in well with the theme of the movie. A number with a Western base to it, it does have an advertisement jingle feel to it but one doesn't quite mind it due to the comic book spirit of the movie. Narrating the background of 'Drona' and how he would be acting as a savior for the rest of the world, 'Drona' is a kind of number which appears at numerous junctures in the film. Sunidhi Chauhan version of the same song comes at the album's end and carries a funky feel to it, courtesy a full on club setting. In both the versions, 'Drona' stays on to be primarily situational though and doesn't even attempt taking a popular route.
The number which does aim at being popular though is 'Oop Cha' which has an interesting orchestra throughout its duration. Different instruments are brought together to give this item number an edgy sound. The number by Sunidhi Chauhan and Nandini Shrikar is foot tapping, yes, but beyond the initial setting 'Oop Cha' doesn't quite turn out to be THE item number which Priyanka Chopra could carry for couple of years or so. The culprit here are the lyrics that do touch upon the philosophy of 'living life every moment' but somewhere down the line, they fail to make an impact. 'Remix version' sounds good at high volume as well though how one wishes the lyrics could have made a little more impact!
'Bandagi' follows next and though it doesn't promise much in terms of popularity, it is easy on ears nevertheless. While Roop Kumar Rathod is subdued as usual, Sunidhi Chauhan too keeps her pitch low for 'Bandagi' which comes across as a laidback love song to be heard with the lights switched off. For those who are fond of 'ghazals' and soft music, 'Bandagi' is a decent offering though a wide spread reach of the number doesn't seem feasible.
A number which is seemingly picturised on Jaya Bachchan and the kid (who grows on to be Abhishek Bachchan), 'Nanhe Nanhe' is a lullaby that follows next. Sadhna Sargam (with support from Nandini Shrikar) comes up with good rendition in this extremely slow moving number and at places does sound like Lata Mangeshkar from 'Ek Tu Hi Bharosa' [Pukar]. A situational track, this is yet another number which derives its value from it's placement in the film's narrative.
Finally arrives 'Khushi' which is experimental to say the least. With a jazz feel to it, 'Khushi' sees quite a few ups and downs during it's 4 minutes duration even as Suzzane D'mello, Francois Castellino, Dean and Sunaina Gupta give Shaan, the prime singer here, ample support. A conversation song which seems to be picturised on Abhishek Bachchan having fun with his friends, 'Khushi' has a lot to look forward in the way it is picturised because audio wise it is not a number that one expects to be sung or played around.
As mentioned in the start, Drona takes an unconventional route for most part of the album and the only place where it does follow the popular trend ('Oop Cha'), the final result is 'theek-thaak'. Goldie Behl, Dhruv and Vaibhav have their intentions right in making Drona look and sound different from the league; however while doing so the soundtrack turns out to be the kind which would has it's chances of making a better impression as a part of the narrative and able choreography/picturisation.