No one could stop Anushka

Although Naughty Naughty plumbed the depths of mediocrity, people looking for a chance to (Manchan)dance would disagree.

It was penned by Vishal Dadlani and composed by him and Shekhar Ravjiani. The song was right up Anushka’s alley, and boy, did she cash in! The male singer was none other than Dadlani.

This Hinglish song had phrases like Stop me, stop me and words like sexy. There’s no doubt that Anushka wasn’t just unstoppable, but also sexy.

But there was another line – Love the way you touch me. Wish that could be said of the song!     

Sunidhi didn’t blow anyone’s mind

By no means was Mind Blowing Mahiya from Cash, which was penned by Vishal Dadlani and composed by him and Shekhar Ravjiani, a mind-blowing song. The song was a Sunidhi Chauhan solo.

Those who loved the trio’s earlier collaborations must have been shocked to listen to this ironically-titled track.

While the critics were quick to pan the song, there was perhaps a section of fans who considered themselves mind-blowing mahiyas (lovers).

Here’s a question. Did the latter mind cutting Messrs Dadlani and Ravjiani and Ms Chauhan some slack? The answer was blowing in the wind.

Ms Chauhan didn’t Cash in

It’s sad but true – the soundtrack of Cash (2007) was one of Vishal Dadlani and Shekhar Ravjiani’s worst. The title track, which was catchy, was penned by the former.

It was sung by Sunidhi Chauhan (who is usually dependable), Dadlani and Ravjiani.

Ca(a)sh there was just one version of this track – the Theme Mix (which was five minutes and a second long).

But that wasn’t the case – there was another version of the song by the aforementioned trio. It was titled the Extended Mix. The duration of this song was three minutes and 46 seconds.

It made many people S(a)mile

Meter Down, from Taxi No. 9 2 11, was composed by Vishal Dadlani and Shekhar Ravjiani.

Anyone who has lived in Mumbai (where the ubiquitous kaali-peelis ply) would be familiar with the (Indian English) phrase, which is the hook of the song (which is a Hinglish track).

Penning lyrics is definitely Dadlani’s métier, so he didn’t let the listeners down.

Sami, who has ‘lift’ed the spirits of his fans with (Adn)anumber of peppy tracks in the past, 

did so again.

The remixed version of the song – titled Rock n Roll Mix – was by Guru Sharma.   

It was a rocKKing track

Ek Nazar Mein Bhi is a song about love at first sight. The track from Taxi No. 9 2 11 – composed by Vishal Dadlani and Shekhar Ravjiani – is the aural equivalent of that.

It was penned by Dadlani, and sung by KK and Sunidhi Chauhan. It’s purely a coincidence that the male singer’s initials stand for killer kombo.

The first three letters of the female singer’s first name spell Sun (Hindi for listen). And if two vowels are subtracted from her surname, it spells Chhan (Marathi for nice). It couldn’t be more appropriate than that.  

Bappi captured da city's spirit

In Boombai Nagariya (from Taxi No. 9 2 11), the city's name sounded like a portmanteau of its former name (Bambai) and its present name (Mumbai).

The song was written by Vishal Dadlani, who composed it with Shekhar Ravjiani.

It was sung by Bappi. L(ahir)isteners, who were accustomed to his renditions of his own compositions, were surprised to hear him singing someone else's composition.

Nana Patekar and John Abraham’s fans had a reason to listen to the song – it was interspersed with their dialogues. Its remixed version, titled Club Mix, was credited to Guru Sharma. 

Mr Ravjiani turned pop philosopher

If the letters in the phrase Aazmale were rearranged, it would spell amaze al(l). And that’s exactly what this song from the 2006 film Taxi No. 9 2 11 did.

Penned by Deveteran Kohli, the song was composed by Vishal Dadlani and Shekhar Ravjiani, and rendered by the latter.

Scores of people migrate to Mumbai in search of greener pastures. This song is dedicated to them.

While the cab symbolises a metropolis that’s constantly on the move, the song drives home the point that irrespective of one’s location or occupation, he/she has to test himself/herself.

It wasn’t a Gargantuan hit

Subah Subah, from I See You, sounded just as good in the afternoon, evening or at night as it did in the morning.

The ballad was penned by Vishal Dadlani and composed by him and Shekhar Ravjiani (who also shared singing credits). It wasn’t a chartbuster, but was, in(G)arguably, one of the most popular songs rendered by Zubeen.

The remixed version of the track, by DJ Whosane!, was a tad shorter than the original. But the purists (in other words, those who take a dim view of remixes) would probably have said, “Baba(i)ji ka thullu”.

Sukhwinder and Sunidhi were (Ha)loud

If a person, who confesses to having two left feet, accompanies his/her pals to a Dandiya night, he/she will certainly hear the Gujarati phrase Halo Halo. Loosely translated, he/she is being exhorted to move it!

Fans of Vishal Dadlani and Shekhar Ravjiani were urged to do just that in Halo Halo, a song from I See You (2006). Not only did the former pen it, but he also shared Sing(h)ing credits with Sukhwinder and Sunidhi Chauhan.

While there are people who are sane enough to avoid remixes, party animals might have liked DJ Whosane!’s version. 

It was surely Alively track

Rehja Re, from Golmaal: Fun Unlimited, was penned by Kumaar, composed by Vishal Dadlani and Shekhar Ravjiani, and sung by Javed Ali and Sunidhi Chauhan.

It's an upbeat number with a smattering of Punjabi words [which is no(r)t(h) a surprise, considering the fact that the lyricist hails from Jalandhar].

The phrase Rehja means stay. Au contraire, the song wasn’t on the charts for a long time. But it was definitely etched in the memories of Dadlani and Ravjiani’s fans.

The remixed version of the track, also rendered by Ali and Chauhan, was worth a skip.

Anushka Ma(nchanda)de a rocking debut

Golmaal, the title track of Golmaal: Fun Unlimited, was penned by Kumaar, composed by Vishal Dadlani and Shekhar Ravjiani, and sung by the former and Anushka Manchanda.

Manchanda is no stranger to music buffs. The ‘Viva’cious singer was a member of the all-girl Indipop band Viva!, which comprised the five winners of the first season of Coke [V] Popstars, the Indian version of Popstars (an international reality television franchise).

There was a remixed version of this track (sung by the aforementioned duo), and another title track, Golmaal O O (sung by Dadlani, KK and Shaan).

Shekhar and Sneha were Pantastic

Golmaal: Fun Unlimited released in 2006. While its soundtrack was pleasing to the ear, none of the songs typified the tagline more than Aage Peeche.

The lyrics were penned by Rakesh Kumar (known mononymously as Kumaar), and the song was composed by Vishal Dadlani and Shekhar Ravjiani. The singers, Ravjiani and Sneha Pant, were pitch-p(eech)erfect.

One of the highlights of the song – which was a throwback to a bygone era – was the manner in which the former altered his voice. It’s particularly evident when he sings, “Nahin nahin”. However, the track shouldn’t have been remixed.

Mr Dadlani definitely s(hol)o(u)nded (Suni)d(h)ifferent

Sholon Si, a song from Shabd (which released in 2005), became very popular. The lyrics were penned by Kamil, who holds a PhD in Hindi poetry. (Irs)Had he not kept them simple, the song would literally have been all Latin to the listeners.

It was composed by Vishal Dadlani and Shekhar Ravjiani, and sung by the former and Sunidhi Chauhan.

It wouldn’t be incorrect to use the shabd hatke (a Bollywood cliché, which means unique) to describe Dadlani’s voice. But to paraphrase the disclaimer, any resemblance to the voice of another singer was purely coincidental.

Kunal and Sunidhi weren’t clueless

What’s Goin’ On? – the song from Salaam Namaste – did go on to become popular. It was sung by Kunal Ganjawala and Sunidhi Chauhan.

Sahni, who penned the lyrics, was a late bloomer by Bollywood standards. But he definitely seemed to have (J)a(i)deep understanding of the milieu. It wouldn’t be incorrect to say that the ex-computer engineer had cracked the code.

The film’s music, composed by Vishal Dadlani and Shekhar Ravjiani, released five days before India’s 59^th Independence Day. It was apt, considering the former’s association with the Independence Rock Festival (a.k.a. the Woodstock of India). 

Kunal and Vasundhara were entitled

Music buffs probably wanted to say Salaam to Dasingers – Kunal Ganjawala and Vasundhara – who (Nama)stepped up and were counted.

Vishal Dadlani and Shekhar Ravjiani composed the title track of the film. It was penned by Jaideep Sahni.

Much to the dismay of people who have an aversion to the remixed versions of songs, this track had one called the Dhol Mix.

It was credited to Nikhil, who has many feathers in his C(hinap)ap [he was a popular MTV VJ and is considered a pioneer of electronic dance music (EDM) in India], and DJ Nawed Khan.

This was Gayatri’s success Mmmmantra

Vishal Dadlani and Shekhar Ravjiani composed the music for Salaam Namaste (2005). Thankfully, the critics didn’t s(a)la(a)m it, and the audience welcomed it too.

Thanks to My Dil Goes Mmmm, which was penned by Jaideep Sahni, youngsters, who were accustomed to thinking dhak dhak was the sound of one’s heartbeat, began to believe that the heart hums when one is in love.

It was sung by Shaan and Gayatri Ganjawala (nee Iyer). The former and Caralisa Monteiro rendered its English Club Mix. That, and the instrumental version of the song, were credited to DJ Aqeel.   

Alisha definitely (Chi)nailed this track!

By no means was the soundtrack of Karam (2005) memorable, but Tinka Tinka was certainly its piece de resistance.

Penned by Irshad and Vishal Dadlani, the song was (k)amilestone in the playback singing career of Indipop star Alisha Chinai.

Classy, soulful and sensuous are three adjectives that spring to mind when one thinks of this track, which was composed by Dadlani and Shekhar Ravjiani.

A portion of the song was resampled by German electronic musician Schiller (Christopher von Deylen) in Mitternacht (Midnight), a track from his fifth studio album Sehnsucht (Desire), which released in 2008. 

KK and Shaan stole Dushow

Given the popularity of the songs of Dus, it’s a P(anchh)ity that Jalonvi, the lyricist, hasn’t penned such groovy numbers since.

It wouldn’t be wrong to say that Dus Bahaane, the film’s title track, was the catchiest of the lot. People didn’t need even one excuse to listen to the song, which was composed by Vishal Dadlani and Shekhar Ravjiani, and sung by KK and Shaan.

And, by the way, the quintet obviously thought that weren’t enough. Which is why there is an ex‘ten’ded version of it. It is a minute and 13 seconds longer.

Krishna was indeed a revelation

Deedar De, from Dus (2005), was penned by Panchhi Jalonvi (the nom de plume of Syed Athar Hasan). He’s not a household name.

The song, which was composed by Vishal Dadlani and Shekhar Ravjiani, was sung by Sunidhi Chauhan and Krishna, who has a be(ur)autiful voice.

Incidentally, this was Dadlani and Ravjiani’s second collaboration with Beura. He’d earlier sung Rabba from Musafir.

It was penned by Dev Kohli and Kumaar (whose first Bollywood track was Hota Hai Hota Hai from Plan, which was composed by Dadlani and Ravjiani and sung by Kumar Sanu and Chauhan). 

Abhishek (Sunid)hit the right note

If one had to describe the soundtrack of Bluffmaster! (2005) in a word, it would be eclectic. Right Here Right Now was a hip-hop song penned and composed by Vishal Dadlani and Shekhar Ravjiani.

When Sunidhi Chauhan sings, people listen with ‘rap’t attention, but on this occasion, they had another reason to be all ears – a novice, who incidentally possesses a baritone, kept her company behind the microphone.

It was none other than Bachchan Junior, the film’s lead, who was keen to prove that he was not attempting to sing for the (Abhis)he(c)k of it.

Sukhwinder and Sunidhi (Saa)killed it!

Thankfully, none of Vishal Dadlani and Shekhar Ravjiani’s fans said Saaki Naka (Konkani for I don’t want Saaki). It was sung by Sukhwinder Singh and Sunidhi Chauhan. The song was right up the latter’s alley.

Although Dev Kohli, who penned it, was an aging star on the (Musa)firmament, there’s no doubt about the fact that he had a finger on the pulse of the youth.

He was nominated in the Best Lyricist category at the sixth International Indian Film Academy Awards (IIFA) ceremony, which took place at the Amsterdam Arena in the Netherlands in 2005.

KK wasn’t really on (Musa)fire

Door Se Paas from Musafir (2004) was paasable and had door door tak no potential to have a long-lasting impact on the minds of its target audience (the youth), but it became popular, so no one bothered to complain.

While the lion’s share of the credit for this obviously went to lyricist Dev Kohli and composers Vishal Dadlani and Shekhar Ravjiani, one who couldn’t be denied his fair share of it was KK, who sang it.

The fact that he’s talented certainly begs the question: Why is he an underrated singer (vis-à-vis his prolific peers)?

Kailash left every banda impressed

The critics labelled the obscure Waisa Bhi Hota Hai Part II (2003) a cult film. But music buffs couldn’t Kher less, because the highlight of its soundtrack was Allah Ke Bande, which was sung by Kailash.

The song, which was composed by Vishal Dadlani and Shekhar Ravjiani and written by the former, was picturised on the singer, who bagged the Best Male Playback Singer award at the 2004 Star Screen Awards.

It earned him a nomination in the Best Male Playback Singer category at the inaugural Producers Guild Film Awards, which took place in 2004. 

Sunidhi’s was a Suparilative effort

Fans of Vishal Dadlani and Shekhar Ravjiani have to (Chau)hand it to the former and Sunidhi for being right on the mo(o)ney as far as Tujhe Chand Chahiye from Supari (2003) was concerned. No prizes for guessing that Dadlani was the lyricist.

It wouldn't be incorrect to say that this hidden gem was the saving grace of the film, but if a list of the top ten songs composed by the duo and sung by Chauhan were drawn up, there’s a slim chance that this track would even be remembered, let alone make the cut.

He chose Kuality over Kuantity

Krishnakumar was always a Ku(nna)t(h) above the rest, which is evident in his choice of songs. The singer, known as KK and born and raised in the capital, sang Tu Aashiqui Hai from Jhankaar Beats, which was composed by Vishal Dadlani and Shekhar Ravjiani, and penned by the former.

He was nominated in the best male playback singer category for this song at the fifth International Indian Film Academy (IIFA) Awards ceremony, which was held in Singapore in 2004. However, it’s indeed a sad sc(re)enario that he did not bag any of the coveted trophies. 

Shaan’s appeal was undoubtedly earnest

It’s hard to miss the element of irony in Suno Na from Jhankaar Beats. After belting out several hits, Shaan seemed to send out a message to music directors to pick him to render their upcoming tracks and to his fans to listen to him. To his delight, they complied.

This song transports the listener back to the era of melodious songs, and gives a ray of hope to those who have been fervently praying for years that the times change. It was composed by Vishal Dadlani and Shekhar Ravjiani and penned by the former.   

A(d)mit it, Pancham Da rocked!

A rock aficionado and a Bollywood music buff would perhaps baulk at the mere mention of a debate, especially if the topic is as jejune as Boss Kaun Tha. Everyone knows it’s Bruce Springsteen’s nickname, but one desi used the moniker to pay a tribute to R D Burman in Jhankaar Beats (2003).

Folks, that’s Vishal Dadlani, who has successfully been straddling both the genres for the better part of the last couple of decades. Besides writing the lyrics of the duet, he also composed it (with Shekhar Ravjiani) and sang it (with Amit Kumar). 

The ‘four’ce was with them

It is no secret that 2002 was Bollywood’s annus horribilis. However, one of the best things that happened that year was the comeback of Vishal Dadlani and Shekhar Ravjiani after a three-year hiatus, with Chhod Na Chhod Na Re. It was the choosy duo’s only song that year.

This was a song that should never be taken out of Kaantext. The man who penned the lyrics was none other than Dadlani. It was sung by two playback singers (Udit Narayan and Sudesh Bhosle) and a couple of the film’s leads (Sanjay Dutt and Mahesh Manjrekar).  

Shaan deserved a second listen

It seemed Vishal Dadlani, Purna Das Baul Samrat and Shiraz Mehra had as much of a baul composing Woh Pehli Baar, Shaan’s second solo from Pyaar Mein Kabhi Kabhi, as they did when they collaborated on the singer’s first.

Mehra’s namesake, Shiraz Moti, penned the lyrics of this song with Dadlani. The latter (and Shekhar Ravjiani) bagged the Filmfare R D Burman Award for New Music Talent in 2004, the year Raj Kaushal’s second film, Shaadi Ka Laddoo, released. Unlike Pyaar Mein Kabhi Kabhi, that film’s soundtrack met with a collective Chal Hatt from cinegoers.  

That was a Shaandaar debut!

Musu Musu Haasi, from Pyaar Mein Kabhi Kabhi, was Shantanu Mukherjee (a.k.a. Shaan’s) first full-fledged Bollywood track. As a teenager, he’d sung a line in a song from Parinda, which was composed by Rahul Dev Burman.

It was apt that the singer, who is noted for his smile, was chosen by composers Purna Das Baul Samrat, Shiraz Mehra and Vishal Dadlani to sing this song, which became popular because of its Nepali hook.

Dadlani, who is credited with redefining the (Penta)grammar of rock music in India, wrote the lyrics of this song with Raj Kaushal.

Shekhar was certainly a mover

In a bid to carve a (Ravjia)niche for himself as a composer (and occasional singer), Shekhar, a former reality show contestant, teamed up with Mahalakshmi to appeal to potential fans. The latter took the song – Dil Se Mere Door Na Jaana from Pyaar Mein Kabhi Kabhi (1999) – a few notches Iyer.

The song was penned by Bollywood’s most unsuccessful Raj K (Raj Kaushal) and his better-known better half, actress and anchor Mandira Bedi (of Shanti and Extraaa Innings fame). The film, which failed to set the cash registers ringing, also marked the former’s directorial debut.