This is why one carefully looks at what composer Dhruv Ghanekar (who was a part of the composer duo Ashu-Dhruv) has to offer in Drona, which is Abhishek's first solo release since Guru. Surprisingly, unlike some huge expectations that one had from recent biggies like Singh Is Kinng, Bachna Ae Haseeno and Karzzzz, Drona (which has lyrics by Vaibhav Modi) is relatively low key in nature. One can't exclaim 'I have been waiting with a bated breath' for the music of Drona which has just hit the stands. And this is what turns Drona into a fairly okay score—not exceptional, but not a bad hear either.
The anthem track Drona (sung by Dhruv himself) opens up proceedings and has the kind of sound which 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 savoir for the rest of the world, Drona is a kind of number which appears at numerous junctures in the film.
Sunidhi Chauhan’s 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 versions, Drona is primarily situational though, and doesn't even attempt taking a popular route.
The number which does aim at being popular is Oop Cha, which has an interesting orchestra. 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. The remix version sounds good at high volume though.
Bandagi follows next and though it doesn't promise much in terms of popularity, it is easy on the ears. While Roop Kumar Rathod is subdued as usual, Sunidhi Chauhan too keeps her pitch low for this song, which comes across as a laidback love song. For those who are fond of ghazals and soft music, Bandagi is a decent offering though a widespread 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. 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 comes Khushi, which is experimental to say the least. With a jazz feel to it, it sees quite a few ups and downs during its four-minute duration, even as Suzanne 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 that would has it's chances of making a better impression as a part of the narrative and able choreography/picturisation.
Rating: Two stars