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AHis first effort in Hindi films, Aaja Sanam, went largely unremarked, even though the music carried the names of Laxmikant-Pyarelal. The song simply disappeared in the whirlpool of Bollywood, leaving him in much the same state.

And then, along came Dil Se. A R Rahman, always interested in something new, used Sukhwinder for the unforgettable Chaiyya chaiyya, and for the singer, that was that. Despite carping critics, it was no flash in the pan, and Sukhwinder is now regarded as a sensitive and eloquent singer.

Other films followed, notable among which are Taal, Biwi No 1, 1947 Earth, Daag, Dillagi and Thakshak have now made him a household word. Sukhwinder owes a large part of his success to Rahman's encouragement, and makes no effort to gloss over that fact.

Sukhwinder has some pretty strong opinions about writing music - he has once stated that if he was ever involved in writing music for film, he would delve deep into the Indian musical landscape and not simply conjure up some digital tricks with pop and fusion.

Sukhwinder has been singleminded in his approach: he wishes to do little else but sing and compose music. His trainer, Balwantrai Jaswal, a well-regarded singer in Punjab guided him, but most of his learning, as he says so himself, has occurred by just listening and imbibing.

Rahman and Sukhwinder are presently working very closely together, and the duo have decided to make music that is not tailor-made to fit in with films, but to venture into realms where they can truly express themselves.

Apart from his work with Rahman, he is also engaged in a few other projects. He is back with Pyaar Tune Kya Kiya..., where he is working with music director Sandeep Chowta. He is planning to set up a high-tech recording studio in Mumbai, and save himself the trouble of recording and experimenting on somebody else's time.