Shankar, Ehsaan & Loy came up from the ranks of the non-film music scene, performing rock, blues, jazz, and pop before entering the film music industry. Shankar Mahadevan, a software engineer, worked on Oracle Version Six and studied Western, Hindustani and Carnatic classical music. He made his debut with the 1985 Marathi film Vahinichi Maya. A leading playback singer with Pukar, Sapnay and Biwi No.1 to his credit, he also composed "Breathless".
Ehsaan Noorani studied music at the Musicians' Institute in Los Angeles and worked with the like of Ronnie Desai, Laxmikant-Pyarelal, Kalyanji-Anandji and Louis Banks. He composed Alien Desire, did several jingles and like Loy, was part of a blues-and-acid jazz band. Loy Mendonsa is trained in Western classical and also learned the rudiments of Indian classical music. He performed with several group bands, plays (Godspell, West Side Story, Jesus Christ Superstar) and composed jingles and signature tunes (Fauji, The World This Week).
Ehsaan was doing jingles and Loy was in Delhi before the union. Loy was writing for television then. The show Quiz Time was his first work and Siddharth Basu gave him his first break. Then he did Prannoy Roy's The World This Week. A few more shows came along and he also did theatre and Shahrukh Khan's Fauji. Loy had also worked as keyboardist with A. R. Rahman and Shankar had sung many famous tracks for him. In 1989, Ehsaan met Loy, who was working for Ranjit Barot, an ad film composer. From then on, they joined together and composed several ad jingles together. Later, Ehsaan and Loy met Shankar when he was roped in by Ranjit Barot to sing for the Pepsi ad directed by Mukul Anand. Since then, they started to compose for ads as a trio.
Each member of the trio brings his own talents and experiences to the group, combining the Carnatic and Hindustani vocal tradition (Shankar), Western rock (Ehsaan) and a deep understanding of fusion including a virtual mastery over the electronic synthesizer (Loy). They continue a tradition quite common in Bollywood music, that of partnerships between music composers contributing and pooling their individual strengths, often combining deep knowledge of Hindustani (North Indian) and Carnatic (South Indian) classical music with technical expertise as composers and orchestral arrangers. Shankar–Ehsaan–Loy probably represent the first trio of composers to entertain Bollywood audiences themselves with their chart-topping music.
The eternal quest among Bollywood's music composers has been to create interest among younger audiences who tend to be inspired more by musical themes and influences from the West. Since a film's soundtrack is a very influential and critical component of commercial and critical success (required and achieved or sometimes squandered at the box office), this quest to "deliver a film" has always inspired composers to create tunes which combine the best of both traditional Indian music and popular Western or international influences. An overwhelming majority of Bollywood's most popular music has been composed based on classical Indian rāgas (in Sanskrit "raga" is literally "color" or "mood"). Shankar–Ehsaan–Loy have bridged that gap.
Shankar-Ehsaan-Loy were the recipients of several awards, including three Filmfare awards (Bunty Aur Babli, Kal Ho Naa Ho, 2 States), three International Indian Film Academy Awards (Kal Ho Naa Ho, Bunty Aur Babli, My Name is Khan), three Star Screen awards (Dil Chahta Hai, Bunty Aur Babli, My Name Is Khan),one Filmfare RD Burman Award for New Music Talent and two MTV Immies Awards. In 2004, they received the National Film Award for Best Music Direction for the film Kal Ho Naa Ho. Shankar–Ehsaan–Loy won the Filmfare and IIFA awards 2015 for 2 states.
In 2010, they were honored with the Years of Excellence at the Jack Daniel's Annual Rock Awards at Hard Rock Café, Mumbai.
Aaj Ki Raat
Shankar-Ehsaan-Loy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tan Bhi Hai Mann Bhi Hai Pighla Huaan
Chhayi Hai Ranginiya Phir Bhi Hai Betaabiyan
Kyun Dhadakta Hai Dil
Kyun Yeh Kehta Hai Dil
Deewanon Ko Ab Tak Nahi Hai Yeh Pata
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
Khona Hai Kya
Khona Hai Kya
Do Ghadi Mein Yahaan Jaane Kya Ho Gaya
Jo Hamesha Tha Mera Dil Mera Ho Gaya
Kaun Kiske Dil Mein Hai Faisala Hoga
Faisala Hai Yahi Jeet Hogi Meri
Deewaanon Ab Tak Nahi Hai Yeh Pata
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
Khona Hai Kya
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
Khona Hai Kya
Aaon Main Tumse Kahu Baat Chupke Se
Rang Badlegi Pal Mein Raat Chupke Se
Tumko Le Jaaunga Phir Saath Chhupke Se
Jaaoge Tum Kahaan Dekho Main Hoon Yahaan
Deewaanon Ab Tak Nahi Hai Yeh Pata
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
Khona Hai Kya
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
Khona Hai Kya
The song "Aaj Ki Raat" is an upbeat and sultry Bollywood dance number composed by Shankar-Ehsaan-Loy and featured in the 2006 film "Don". The lyrics explore the idea of living in the moment and letting go of one's inhibitions, especially in the context of a night full of possibilities. The opening lines evoke a sense of intoxication, with a "sham" (evening) full of "jaam" (liquor) and a "nasha" (intoxication) that affects not just the body but also the mind. The use of the adjective "pighla hua" (melted) suggests a total surrender to the experience.
Despite the colorful atmosphere and the "ranginiya" (colorfulness) of the surroundings, there is also a feeling of restlessness and uncertainty ("betaabiyan"). The heart is "dhadakta" (beating fast) and "kehta hai" (speaking up) but it seems to be still searching for something to hold on to. The chorus repeats the question of whether it is a night to lose or gain something, with the implication that the answer might be both or neither.
The second verse includes a twist as the singer reflects on a recent change of heart. Something that used to belong to them ("hamesha tha mera") has been transferred to another person ("mera ho gaya"). The lyrics leave it unclear what exactly happened or how it feels, but the singer seems to have come to terms with the situation and is ready to fight for what they want ("jeet hogi meri"). The final verse brings a note of intimacy as the singer addresses a specific person and proposes a clandestine encounter. The words "chupke se" (secretly) are repeated three times, suggesting a playful and flirtatious mood. The last lines imply that the song is addressed to an audience of "deewanon" (madmen), who are willing to take risks and embrace the unpredictable.
Line by Line Meaning
Shaam Hai Jaam Hai Aur Hai Nasha
The evening is full of drinks and intoxication
Tan Bhi Hai Mann Bhi Hai Pighla Huaan
The body and mind are also melted and indulging in pleasure
Chhayi Hai Ranginiya Phir Bhi Hai Betaabiyan
There is a spread of colors but still restlessness persists
Kyun Dhadakta Hai Dil
Why is the heart beating so fast?
Kyun Yeh Kehta Hai Dil
Why is the heart saying this?
Deewanon Ko Ab Tak Nahi Hai Yeh Pata
Even the mad ones don't know the answer to this
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
What is there to lose or gain tonight?
Khona Hai Kya
What is there to lose?
Do Ghadi Mein Yahaan Jaane Kya Ho Gaya
In just a few moments, what happened here?
Jo Hamesha Tha Mera Dil Mera Ho Gaya
What always belonged to me is now completely mine
Kaun Kiske Dil Mein Hai Faisala Hoga
Who will make the final decision in whose heart?
Faisala Hai Yahi Jeet Hogi Meri
The decision is that I will emerge victorious
Deewaanon Ab Tak Nahi Hai Yeh Pata
Still, even the mad ones don't know the answer
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
What is there to lose or gain tonight?
Khona Hai Kya
What is there to lose?
Aaon Main Tumse Kahu Baat Chupke Se
Let me tell you something secretly
Rang Badlegi Pal Mein Raat Chupke Se
Colors will change in just a moment with the night
Tumko Le Jaaunga Phir Saath Chhupke Se
Then I'll take you away quietly
Jaaoge Tum Kahaan Dekho Main Hoon Yahaan
Where will you go without me, look I'm here
Deewaanon Ab Tak Nahi Hai Yeh Pata
Still, even the mad ones don't know the answer
Aaj Ki Raat Khona Hai Kya Paana Hai Kya
What is there to lose or gain tonight?
Khona Hai Kya
What is there to lose?
Writer(s): EHSAAN NOORANI, SHANKAR MAHADEVAN, JAVED AKHTAR, ALOYSUIS PETER MENDONSA
Contributed by Hannah K. Suggest a correction in the comments below.