Experiencing Joy of Sorrow

by Madeeha Syed

The fusion-percussion band from Karachi, Taal Karisma, recent ly launched its first official music video of a track called Joy of Sorrow, directed by Nefer Sehgal. Along with the band members it also stars Ali Rizvi and Mehwish Siddiqui.

The video opens with statements like “on January 25th, 2013, the sun disappeared from the skies of Pakistan. This occurrence cannot be explained by any scientific authority. In the six months of darkness that followed, a supernatural power began to emerge from within the chaos.” Alan Simon from Taal Karisma says that the video is based on a ‘true story’ — it shows people with superpowers.

Jokes aside, the video is a take on the struggles an artiste goes through in order to pursue his/her art in this country. The video’s official tagline reads: “A fantasy revolving around the artistes who live to shine within the chaos that is Karachi”. Scenes depict a girl (an ar tiste) running away from evil forces that try to take away her special talent which apparently only she posses. In between she is saved by different members of Taal Karisma who use their superpowers to rescue her.

Once all the baddies are defeated, we discover exactly what was so special about the female protagonist — she places her hands on her painting of the sun and literally brings it to life. Where there was once darkness, there is now light: the world has been saved.

As a debut effort, the video is very good although there are some aspects of it that need fine-tuning here and there. The frames change a little too fast, making it a bit of a strain to sit through it all.

Taal Karisma’s music can, at best, be described as experimental. Joy of Sorrow has many facets to it, depending on how you see it. If listened to in isolation, it takes you on a journey that can lead you almost anywhere on a wide landscape between the extreme points of joy and sorrow, respectively. ¦

Ali Zafar goes border crossing… like it’s never been done before
They always said he sounds like Kishore Kumar and now they are saying he has the face, bearing and acting chops to be a film star in India. Will this Bollywood dream come true?

Tere Bin Laden. The film is slated for release this week, July 16 to be precise and just the publicity for it has seen Ali Zafar’s star rise and rise in India. The promos are all over the place. Ali is currently stationed across the border and is all over the world wide web thanks to the pre-publicity for the film that is seeing him featured in every newspaper in the country. It helps that Karan Johar and Salman Khan are openly supporting the film and Ali Zafar himself on Twitter.

It’s a big, big, scratch that, huge deal to see a Pakistani star promoted this way in India. The only thing one can compare it to really was Raj Kapoor’s launching of Zeba Bakhtiar as the proverbial Kashmir ki kali for his feature film, Henna. Back then, Indian media wasn’t as prolific and neither country was really in the mood for peace. Also, Zeba Bakhtiar was not one of the biggest pop stars with a global fan following. Ali Zafar is. And with the publicity Tere Bin Laden is generating he is all set to trump our own Atif Aslam in popularity across the border. Indeed, if Tere Bin Laden turns into a box office smash, Ali Zafar will reach a level of stardom hitherto unprecedented in our industry and he will also become a one of a kind phenomenon in Bollywood. Of course, that’s a big ‘if’, but it is entirely possible.

After all, which actor does Bollywood have who can act, dance and sing his own songs? The answer is none. Ali Zafar is a rare breed. He is the complete package. Apart from singing, which he does so well that Farida Khanum approves, Ali Zafar has the looks, the style and the histrionic abilities required to work in Bollywood. The peppy songs of Tere Bin Laden to which Ali has done the energetic dance routines so typical of Indian films are working well. This is the kind of stuff that an Ali Azmat, a Shafqat Amanat or an Omran Shafique, or anyone of Ali Zafar’s contemporaries on Coke Studio where he made such a mark, wouldn’t be able to pull off. The only one who could perhaps is Atif, who we will see soon enough in Shoaib Mansoor’s film, Bol. In the modern music scene, it is Atif and Ali Zafar who rule the roost and when it comes to penetrating the Indian market, they are doing a far savvier job of it than their predecessors. They are the right men at the right time.

If Atif reached popularity across the border first, by singing one catchy song after another for their films, then Ali Zafar has played a far more careful and calculated game. His one foray across the border has been the video of ‘Sajania’, which used crew and talent from both countries, but otherwise, Ali kept his guard up.

He regularly made trips to India, but nothing seemed to come of them, as opposed to Atif who would sing a song for some film, do concerts or shoot videos there on every trip.

Back at home, Ali Zafar also got flack for not doing Khuda Kay Liye. He had been approached by Shoaib Mansoor for the role eventually essayed by Fawad Khan of EP. News had it that Ali wasn’t comfortable with the controversial nature of the film, so one naturally wonders why he agreed to do Tere Bin Laden that could potentially stir up a hornet’s nest here at home.

“I really liked the script,” says Ali smiling simply sitting at a table at the Karachi Sheraton’s Cozmo where we met for lunch between his whirlwind schedule of making television appearances and holding meetings. “I knew that I didn’t want to do a typical Bollywood film with romancing a girl around trees. I didn’t want to play second lead in any film and when I was offered the script, I read it and I could see myself doing it. It’s very funny. I think I suit the role.” On being probed about the controversial nature of the film, Ali says, “I don’t think there will be a problem. My character cons a man into playing Osama to get a sellable news report. It has nothing to do with the real Osama. The film pokes fun at the Bush era and his war on terror which the whole world is making fun of anyway and it does it in a very Pakistani way.” In an email sent from India recently, where he is stationed till the film’s release Ali Zafar states: “Now that I have seen it, I can hardly believe that an Indian has made such a pro-Pakistan film.”

There have been reports that Tere Bin Laden will release as Tere Bin in Pakistan, after of course clearing censors. According to newspapers across the border, the makers of the film have received an anonymous letter threatening them with dire consequences if it is released. But surprise surprise, the letter is not from Al-Qaeda, because it accuses the makers of supporting Osama Bin Laden and terrorism, making one smell the Shiv Sena rat.

Speaking about his film debutant director, Abhishek Sharma told Hindustan Times: “The story is about a Pakistani journalist who wants to go to the US to make a career. But his plans never succeed. While moving around the countryside, he finds a man who looks exactly like Osama Bin Laden and he forces him to record videotapes the way the real man used to. It’s based on the most bizarre, though not unheard of, rumour.”
“Whether it’s in India or anywhere in the world, we’ve all watched the CIA videos of Saddam Hussain and Bin Laden. The satire in the film is around the fast-growing Islamophobia in the First World. My film doesn’t lean towards the politics of the situation,” asserts Sharma.

It’s a bold edgy subject, and while one is inclined to think that Abhishek Sharma is a novice debutant director talking, the people backing the film come with strong credentials. Tere Bin Laden is a Walkwater production, the company set up by the hugely experienced Manmohan Shetty who also set up ground breaking film house Adlabs that went on to be acquired by Anil Ambani. Shetty continued as MD till 2008 and recently, he launched Walkwater Media. The board of the production house boasts industry heavyweights that range from director Shekhar Kapur and the CEO of NDTV Imagine., all people who pull their weight in the behemoth that is Bollywood. Instep also learned from a source that Karan Johar came on as a consultant in the final stages of the film as a favour to help out his friend Pooja Shetty. And one is inclined to think that a company like Walkwater would know how to treat a subject this edgy – after all, like Pakistan, India is hardly immune to terrorism.

So far, there has been no backlash to the film, here at home. And one is hopeful that it will see a release here. After all Khuda Kay Liye was released and went on to have a hugely successful run despite fatwas and bomb threats to Geo Films that distributed it. In Pakistan, Ali Zafar has the rights for distribution, provided the film doesn’t run into censor trouble. He has launched his own film house, Alif Films and a record label Alif Records. Ali Zafar is a smart, smart man and is using his musical talent as a spring board to other things that he can do.

“I am never selling the rights to my music again,” he says confidently. “I am sure about that. So I have set up a record label that will not only be for my music, but also for other musicians. Right now, the right people are not being promoted in the right way. I think as a musician, I understand what is needed. So let’s see where it goes.”

At the Sheraton, Ali Zafar is calm and self assured. The innate shyness from his Huqa Pani days has gone and a quiet self-assuredness has come in. What may have looked hesitant before has now turned into a calm patience of letting things run their course. And it is truly phenomenal to see how far he has come, from the Channo boy to the musical powerhouse who gave us two phenomenal versions of ‘Allah Hoo’ and ‘Dastaan e Ishq’ via Coke Studio.

“I really enjoyed doing those. After ‘Allah Hoo’ was such a success and I was approached to do the next season I told Rohail (Hyatt) that I don’t want to do songs from my album. At Coke Studio I want to do something new. That is what the platform is for,” he remembers. “The song that was the most well-received was ‘Allah Hoo’ so I did ‘Dastaan e Ishq’. I think as a musician if you want to do what you’ve already done, you are wasting the platform. It’s the perfect space, perhaps the only space, where we can experiment.”

Ali Zafar has hit the nail on the head. Be it Shafqat Amanat Ali in Season 2 or Entity Paradigm (EP) and Aunty Disco Project (ADP) in the ongoing season, the musicians who have stuck to their signature tunes have not made a mark. It is the ones who have made the effort to do something different that have shone. Ali Zafar is hitting his stride in every sense of the term. He knows his limitations and is very clear on what he wants to do; be it thinking that he could not have played the intense role in Khuda Kay Liye or choosing to do the light-hearted Tere Bin Laden which he insists is more his style.

On the film, Ali Zafar has sung his own songs – why would he need a playback singer? And has collaborated with the hugely talented trio of Shankar-Ehsaan-Loy who have composed the music for the film. Ali shares credit on some tracks and one ‘Bas Ek Soch’ is completely his own. It’s getting critical acclaim in India but of course the big hits they are predicting are the thumpingly catchy ‘Ullu Da Patha’ and ‘Shor Sharaba’ that have club appeal in Bollywood loving India.

Whatever the fate of Tere Bin Laden, chances are Ali Zafar will leave a lasting impression across the border. He is going to come back and continue working on his next studio album, which will have more Sufi and folk influences. And he is also intelligent enough to think about the future of marketing it in India. It is possibly this quality that the super savvy Karan Johar recognized when he tweeted: “Introducing @alizafarforu </alizafarforu> …the actor-star of TERE BIN LADEN is definitely a man to watch out for!! Talented, soulful and with perspective.” And Karan is so right!
“All people are interested in in India is Bollywood, and if I become a well-known film star there then the channels might give time to things like ‘Dastaan e Ishq’ when I do them,” Ali smiles.

He is all praise for Atif, admitting that his contemporary has tremendous impact in India and the Middle East. “He is very talented and while people keep on bringing up the competition factor, we do talk. Atif has his way of doing things, I have my way. Anyway, there is room for lots to happen in music.”
“When you have been around the industry and worked your way up, who has the time to be a diva?” he points out. “I remember when I was a struggling artist and doors shut on my face. Now doors open, because I have made it. So I want to use that to the maximum, do what I can to help the industry grow. And the memory of that time, of struggling keeps it all in perspective. There is so much to be done. I believe you have to do what you are doing without looking at what others are doing and following them”
You are so right, Ali. That is exactly how people carve a niche of their very own.

Source: Instep Today

Pakistan’s music industry has emerged as one of the best music industry in the world over the years. Every year it expands and becoming bigger and bigger, new artists bringing up their sort of music, catering to their individuality as well as meeting the demands of different music genres. Unfortunately the year 2009 was not that much favourable for Pakistani music industry because most of the concerts and musical shows were cancelled due to threats of terrorism. But still many artists released their much-awaited albums. Three big albums, which were released this year, were of Hadiqa Kiyani, Sheraz Uppal and Inteha. Two bands, which rocked the charts this year on various radio and TV channels, were Inteha and Laal. Both these bands came up with different music and different genres. The most disappointing album of the year was Kohram by Aamanat Ali, which in fact was much-hyped album and got the best sponsors but still it could not steal the show.
The biggest platform where most of the artists performed this year was second season of Coke Studio where the best musicians from our industry like Atif Aslam, Noori, Sain Zahoor, Arieb Azhar ,Ali Zafar, Javed Bashir, Riaz Ali Khan, Shafqat Amanat Ali, Zeb and Haniya, Josh and Strings performed. Coke Studio embodies a musical fusion of exciting elements and diverse influences, ranging from traditional eastern, modern western and regionally inspired music. Coke studio was seen with much enthusiasm this year where musicians from different genres shown electrifying performances, and surprise collaborations between artists defined musical improvisation reflecting the vibrancy and artistic harmony of Pakistan?s artists.
Haider Hashimi the lead guitarist of the band Aaroh brought the big shock for the music industry by parting his way from the band and went solo.
Two videos that created huge hype and claimed massive appreciation this year was of Chal Buleya by Mekaal Hassan Band and the other best video of the year was of Kismat Apney Hath Main by Shehzad Roy. The video of Kismat Apney Hath Main was influenced by the notorious aims of Americans in Guantanamo bay and highlighted one of the most burning issue from the actuality, which is drone attacks. The video of Shehzad Roy was even criticised in New York Times. The best album of the year was of Kehna Chahta Hoon by Inteha, which sold record copies across the country. The best pop song of the year was Soneya By Hadiqa Kiani. The best video of the year was of Chal Buleya by Mekaal Hassan Band, which was directed by talented Bilal Lashari. The best Ballad of the year was Tu Jane Na by Atif Aslam, which was featured in a Bollywood movie. The best Rock song was Pyar by Inteha, which also became the song of the year on BBC. Following are the top five albums, videos, ballads, pop and rock songs of the year.

1- Inteha (Kuch Kehna Chahta Hoon)
2- Laal (Umeed-E-Sehar)
3- Sheraz Uppal (Ankahi)
4- Hadiqa Kiani ( Aasman)
5- Rahim Shah ( Mama Dey)
Best Pop Songs Of The Year
1- Soneya (Hadiqa Kiani)
2- Titliyaan (Strings)
3- Ho Janey De (Call)
4- Dard-E-Tanhai (Nauman Javaid)

Presenting the Coke Studio house band

They are the players who help create the sound that echoes out of Coke Studio and beams into our homes via television screens, radios and the Internet. These are men and women who may not be in the starry spotlight but without them Coke Studio would be incomplete. Instep gets to know the faces behind the sound…

By Maheen Sabeeh

http://jang.com.pk/thenews/jul2009-weekly/nos-05-07-2009/instep/images/articl3_1.jpg

Assad Ahmed (guitars)

Assad Ahmed is a new addition to the house band this year and what a fantastic call to make. His reputation precedes him as a rock guitar giant to be reckoned with but Assad is easily as at home making his acoustic guitar weep gently. ”

He is such an exceptional player,” says Coke Studio co-producer Umber Hyatt.

“I couldn’t do the show last year but this year I could so here I am,” he told Instep as Coke Studio was being recorded. Assad Ahmed’s name needs no introduction. Coke Studio is the latest for him in a career that spans working with the likes of Awaz, Vital Signs, Sajjad Ali, Najam Shiraz and not to forget, the highly underrated and volatile Karavan, which Assad Ahmed plays guitars for.

Babar Khanna (percussions)

Coming back from season one to season two, Babar has grown more relaxed as one of the members of Coke Studio house band. His dholaks bring mystery, might and passionate beats that make you tap your feet every time or skip a beat with intensity.

“It is challenging playing with some of the biggest pop and folk artists of our country but I have never seen or been part of something as extraordinary as this place,” said Babar while recounting his days at the studio.

Dholaks belong in his family and Babar has taken to it instinctively.

Other than Coke Studio, Babar has played with the likes of Jal, Raaga Boys, Jawad Ahmed, Humaira Arshad and has been awarded by the BBC for his performance with the Shola Music Group.

Jaffer Zaidi (pianist)

Jaffer Zaidi made his debut as a pianist at Coke Studio and despite being the new kid on the block; he was thoroughly professional as he let the player in him shine. Soft, morbid, celebratory, drowning and heartwarming – Jaffer can play magic with his fingers.

“It was an excellent experience for me. I was given a chance to rediscover the musician within me. I’m grateful to Gumby for believing in my skills and putting forward my name for this massive production. I’m also grateful to Rohail bhai for taking this huge risk by taking Gumby’s word for it.

Initially I was a little apprehensive about being a part of it. I, being a nobody, was in the middle of all the best musicians the country has to offer. But what comforted me was the support I got from everyone, the house band and the entire Coke Studio

family. To envision me as a permanent member of the Coke Studio team is something I would leave for Rohail bhai to decide but if given a chance, I’d love to offer my skills again,” said Jaffer while speaking to Instep.

Besides being a pianist, Jaffer Zaidi also fronts Kaavish, an upcoming band. Their debut album, Gunkali, is currently awaiting release.

Javed Iqbal (violin)

He can make mournful notes stretch in new dimensions and in equal grace add flavour and festivity when required. Just hear him on Atif Aslam and Riyaz Ali Khan’s ‘Kinara’ as one example. At Coke Studio, he was fondly known as ‘Jay Uncle’ but Javed Iqbal is so much more than just another violinist. He is one of the finest we have today. For the last four decades Javed Iqbal has been a violinist and at Coke Studio, his sheer authority of the instrument and musicianship makes him stand out.

“I can play notes and I can write them just by hearing a song once,” he explained while speaking with Instep.

Javed Iqbal landed at Coke Studio on the recommendation of Jaffer Zaidi who worked with him on his own band’s album. “When you give others a chance to bring someone to the studio, it gives them a feeling of ownership,” says Rohail Hyatt, who was happy to add another layer of sound with the violin to Coke Studio.

Other than Coke Studio, Javed Iqbal has played with names like Farida Khanum, Nusrat Fateh Ali Khan, Noor Jehan, Nayyara Noor, Abrar ul Haq and on Kaavish’s upcoming record Gunkali among others.

Kamran “Mannu” Zafar (bass)

Kamran “Mannu” Zafar is a silent striker. He proved his mettle as a soothing bass player last year at Coke Studio and this year Mannu is back in action like never before. Mannu doesn’t jump on the limelight. He lets his bass do the dance, purely haunt and send a shiver down your spine and impress us all, whether it is a glorious song like ‘Aj Latha Naeeo’ or a gem like ‘Ankhon Kay Sagaar’.

Coke Studio maybe the biggest project for Mannu but he has many other projects to make him command respect and love. They include Ali Azmat’s Klashinfolk, Zeb and Haniya’s Chup as well as live sessions with Mekaal Hasan Band and Abbas Premjee to name a few.

Louis J Pinto aka Gumby (drums)

Much has been said about his talent but nothing comes close to justifying it. Pakistan’s premier drummer returned to the heart of Coke Studio, leading the rhythm section with his drums. Gumby sat surrounded by a glass-like “cage”, played not just with sticks but with an actual brush (to keep the sound from overpowering other instruments and sounds) and did so with a smile on his face and a wisecrack cooking in his head.

“Some songs were rearranged and some were just free form. I love both seasons of Coke Studio. It has been one of my best experiences ever,” said Gumby.

He was the prankster on the set, the one who set the laughter rolling when breaks were on. But when playing, Gumby is restrained yet poignant like ‘Dastaan-e-Ishq (Nachna Painda)’ or wild with certain tunes (surprise, surprise) we won’t mention just yet.

And before Coke Studio began, Gumby was already on a roll; recording in studios with artists like Ali Azmat, Strings, Mekaal Hasan Band, Zeb and Haniya, Jal, Abbas Premjee, Kaavish – the list is pretty long. Suffice to say, he is the best we have in the business and at Coke Studio, the lord of the drums loads up the power once again.

Natasha De Sousa (backing vocals)

Last year Natasha De Sousa joined Coke Studio as an assistant video director and this year her role has changed. While Zeeshan Parwez and Adnan Malik take on the foray of visuals, Natasha joined the house band and has been a suitable replacement to Selina Rashid – who was one of the backing vocalists on season one but took on Public Relation (PR) handling of the show via-a-vis her company Lotus PR this year.

Natasha is full of spirit. At the studio, she was happy to be amidst the biggest musicians of the country. And the high point for her came when she got to sing with Saieen Zahoor who she describes as “iconic” and “awe-inspiring”.

Natasha added that extra zing to songs with her soulful voice and didn’t mind sharing the limelight with others.

Other than Coke Studio, Natasha is also an actress and has been singing for a while, all the way out from church choirs to opening shows for Sukhbir and Stereo Nation.

Omran “Momo” Shafique (guitars)

Omran “Momo” Shafique is the cool, laid-back dude on the sets of Coke Studio. Now in his second year with the show, for Omran there is no going back.

“Within five minutes of narration, Omran was onboard with Coke Studio,” recalls Rohail Hyatt about Momo’s entry into the studio last year.

If last year Omran made us groove with the sound of ‘Paheliyan’ at Coke Studio, this year he simply let his instrument speak for him. And despite doing so, Momo was still very much in the spotlight for his groovy tunes. There was none of the overbearing guitar solos bit that one finds monotonous. It was just beautiful, the aggression and the passion. Omran Shafique’s career graph will further rise with Coke Studio but he is already on his way with Mauj’s debut album, Now in Technicolour on the verge of a physical release (it’s already out over the Internet).

Other projects include Koastal, Co-VEN as well as playing on studio albums of Ali Azmat (and live shows as well), Zeb and Haniya and the upcoming albums of Kaavish and Maryam Kizalbash.

Saba Shabbir (backing vocals)

From season one to season two at Coke Studio, Saba Shabbir has come into her own as a singer. For her singing has been a hobby and Coke Studio is “a learning ground. New energies are created and you find yourself learning so much from it,” she said to Instep.
For Natasha’s soulful voice, Saba brings a distinct flavour of smoky, sultry voice that gives this show such a strong texture.

Saba Shabbir isn’t in it for the fame or money. Born in Britain, raised in Islamabad and having lived in Lahore, Saba’s day job is of an event manager but whenever Coke Studio comes calling, she is always open to it.

Her other credits also include a performance at the Alhamra Auditorium in Lahore where she performed an original song with band Knumb, after which she went on to record single ‘Akhri Baar’ with Shehryar Mirza.

Sikander Inam (percussions)

Yet another new addition to the percussion line-up this year, Sikander Inam brought his dholaks to colour the surface with his beats to Coke Studio this year and was blown away by the kind of musical environment he felt and became a part of.

“This is true fusion and it’s the best. Rohail Hyatt is meticulous with sound and for me this is a big honour,” he said smilingly to Instep in between recording sets.

Sikander’s meaty dholaks have earned him shows with the likes of Ustaad Javed Faiz, Abrar ul Haq, Jawad Tariq Tafo and Nisar Butt.

Waris Baloo (percussions)

“I have played live all over the place. I have learned under the tutelage of Ustaad Ejaz Hussain Baloo but Coke Studio is perhaps the first show of its kind in Pakistan and that makes me very happy and pleased to be a part of it. Different schools of music have come together and it’s a great place to meet and discover new sounds and learn,” says Waris to Instep.

For Waris, it was hard to decide who he enjoyed playing with most. But the respect he garnered “was unprecedented. Everyone was very kind. We’ve all been calling Ali Hamza, ‘Halwa Noori’ – it was so much fun,” he said.

Coke Studio is one accomplishment in his long career. Waris has been playing dholaks and tablas for the last two decades and has

worked with the legendary Nusrat Fateh Ali Khan, Ustaad Salamat Ali Khan, Malika-e-Tarannum Noor Jehan and has even directed music for Arif Lohar, Shafqat Salamat Ali and Sher Miandad. Waris has also taught his instrument – the dholak – at a university in Denmark.

Zulfiq “Shazee” Ahmed Khan (percussions)

After a successful stint on season one, “Shazee” is back at Coke Studio with his multi-percussion instruments including the earthy matka that has given the percussion set such a strong and remarkable feel.

“It’s hard work for everyone and this house band has been a fantastic team to work with. Everyone at Coke Studio has been incredible. Coke Studio is a breather for the music industry. A sense of unity has come out just like last year and this time its bigger I think,” said Shazee who smiled his way through the rehearsals and the recordings.

“Through these songs, if Eastern instruments and players come into the spotlight, it will be an accomplishment,” says Rohail Hyatt. And this is where men like Shazee stand out for their skill, verve and vigour.

Other than Coke Studio, Shazee has worked with iconic names like Hadiqa Kiani, Ali Haider (who is now no longer making music), Sajjad Ali, Jawad Ahmed and both nationally and internationally with his band We-Five.

link: INSTEP Magzine

’The Black Band’’ top Pakistani Rock Band of Saudi Arabia recently performed live in Jeddah, Saudi Arabia.

Watch there whole live performance.

1) http://www.youtube.com/watch?v=JHq6wmVcodE
2) http://www.youtube.com/watch?v=spdsVPb6JoQ
3) http://www.youtube.com/watch?v=hTM8SMvuZpM
4) http://www.youtube.com/watch?v=XAEW9eSCvoQ
5) http://www.youtube.com/watch?v=TNMZx3RFOhE
6) http://www.youtube.com/watch?v=_JufzgHGXMc
7) http://www.youtube.com/watch?v=E9TmAWB3plQ
http://www.youtube.com/watch?v=ppAaz_gjEa8
9) http://www.youtube.com/watch?v=qB96YFR74cs

Join Black Band’s Facebook Group

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Article: The Year In Music – An Overview

OVER VIEW: The Year In Music

By Asfandyar Khan

This year brought us a lot of big name releases; Jal, Atif Aslam, Ali Azmat, Strings. All of them were built up immensely, and none delivered. The year then largely belonged to the underdog. Zeb & Haniya came out with a stunning album that, along with Rahat Fateh Ali Khan’s Charkha, were the only realistic rivals to Klashinfolk

Artiste/Band: Jal
Album: Boondh

There was definitely a bug floating around in 2008, one that seemed to latch on to Jal and Strings. After having Sajni grasp onto our brains and not let go with its infectiousness, Boondh showed us that lovely Pakistani trait called disappointment. The album wasn’t infectious, and it was marred by some poor songwriting that traded in hooks and a working formula for a cheap distortion pedal. Some called it experimentation, but don’t let them fool you. Interestingly, the tracks pumped up with overdrive resemble Call — despite the man behind the helm in the studio being Mekaal Hasan as opposed to Xulfi. Still, Sajni was probably one of the catchiest tracks of the year.

Artiste/Band: Atif Aslam
Album: Meri Kahani

There was always one thing you could bet your house on — Atif would perform vocally. Whether whimsical Bollywood songs or reincarnations of Jalpari, it didn’t matter. Unfortunately, Meri Kahani brought an end to that. Atif’s attempts on Meri Kahani to come across as a gratuitous rocker (Hungami Haalat, Yaaro) failed considerably.

It was after Doorie that we kept on hearing about Atif’s next album, Meri Kahani, which failed on two fronts; it was a poor album and it was hardly a rock album. Good songs and good moments were rare on it, if there at all. Perhaps unrestrained by a sense of victimisation, the decision to go down this route was folly. Maybe next time we’ll see a less brazen Atif Aslam playing to his strengths and coming up with a good pop album.

Artiste/Band: Zeb & Haniya
Album: Chup

Amongst musicians and critics alike, this was perhaps the most anticipated (realistic) release of the year. They’re both immensely gifted artistes; Zeb has a mesmerising voice that is very understated and Haniya’s guitars are equally restrained and perfectly compliment Zeb’s voice. It’s not an easy thing to mould a sense of lounge jazz, singer-songwriter and blues while simultaneously making sure there’s a slight element of pop music to it (to make it memorable, of course).

Under the tutelage of Mekaal Hasan, both Zeb and Haniya managed to create a wonderful debut album that displayed their control over that oft-under looked aspect of music — dynamics (Rona Chorr Diya had to be one of the best things I’ve heard this year). Like seasoned acts Ali Azmat and MHB, Zeb and Haniya have managed to become the precocious upstarts who’ve created their own distinct sound with their debut album no less.

Artiste/Band: Shehzad Roy
Album: Qismet Apnay Haath Mein

Qismet Apnay Haath Mein was a bit of a belter, if not for the music then definitely for the lyrical content. Roy took aim at just about everything happening in the political landscape, and echoed the sentiments of many a Pakistani as he spat out quips and little sarcastic ditties left, right and centre. At the same time, sonically, the album retained his distinct sound — lots of guitars drowned in funk and sweet corn syrup with percussion straight out of a bhangra album.

Though the album brought upon itself a lot of controversy, Qismet Apnay Haath Mein was ultimately better off with it than without. Shehzad Roy was never expected to break musical barriers and created an album that was genre-bending (or genre-defining), but he nevertheless garnered a lot of respect for an album rooted in socio-political commentary.

Artiste/Band: Ahmed Jehanzeb
Album: Laut Aao

lt’s been a bit of a wait for Jehanzeb’s second album, Laut Aao. Unfortunately, the wait didn’t quite result in an album akin to his first — which essentially set him on his way towards achieving mass recognition of his talents.

Laut Aao seemed contrived; there were tracks transparently set up in the hope that Bollywood would come calling for them, yet there seemed to be some urgency about staying true to his roots and what made him a household name in the first place. As a result, listeners were treated to all sorts of mutations (Bol Mahiya Ve, Jab Tumhari Yaad, Tere Bina Jeena), and this contributed immensly towards rendering the album a disappointment.

Ahmed Jehanzeb would do himself a favour if he’d sit down and have a talk with himself to decide which direction he wants to go in exactly.

Artiste/Band: Ali Azmat
Album: Klashinfolk

For starters, Ali Azmat duped us — and not in a good way. After having our appetites whetted with statements of how Klashinfolk would be “different”, and the magic of Gallan seemingly providing backing to that statement, the album itself was disappointing. It wasn’t what it was advertised as, but that didn’t stop it from being one firework of an album.

Refining the formula found on Social Circus, we got an album that didn’t seem to possess a single weak track (except perhaps the English track You Are). From cascading guitars to Ali Azmat’s lilting vocal melodies, the album displayed a musician confident in his ability and possessing the right amount of arrogance. It also told us that this man is a fair distance away from his zenith. The best album of the year? You bet.

Artiste/Band: Dino Ali
Album: Pari

What happened here then? Despite possessing some decent vocal abilities, Pari was all over the place. Dino’s vocals didn’t really shine (though to be fair they are neither grating throughout the album), but the songs, to put it bluntly, were atrocious. We were introduced to everything; crappy dance tracks that seemed to have resurfaced from the late ’90s, hip-hop that frankly shouldn’t exist and harmless pop-rock. The album was marred by a ‘lets-chuck-in-every-genre-conceivable’ approach, which took away any potential cohesiveness. Some shockingly bad lyrics didn’t help either, leaving the listener with nothing to gain after having given an ear to Dino’s Pari.

Artiste/Band: Shafqat Amanat Ali Khan
Album: Tabeer

Undoubtedly one of Pakistan’s premier vocalists, Shafqat Amanat Ali Khan seemed confident enough in his abilities to pen a solo album after his departure from Fuzon.

Tabeer, as a result, delved deep into pre-Fuzon Shafqat Amanat Ali Khan complete with loads of sufi, folk and classical compositions with tinges of contemporary pop (and unfortunately Bollywood). There are little remnants of his days with Fuzon, even though at certain points throughout the album he tends to veer towards a more westernised sound. It is indicative of his ability as a vocalist that despite some compositional missteps, one is too engrossed in his voice to notice the flaws. Still, we can expect a lot more in the coming years from this talented singer.

Artiste/Band: Fuzon
Album: Journey

After Shafqat Amanat Ali Khan’s departure from Fuzon many thought that the group would call it a day. That they didn’t meant that they had to step out of the shadow of their previous vocalist and come full circle both as a band and as an entity.

Despite being rather disappointing, it’s a testament to Immu and Shallum that Journey still sounded distinctly like a Fuzon album. With new vocalist Rameez Mukhtar in tow, they created an album far better rounded than Saagar. Because they were unable to rely on Shafqat to take centrestage, they had to rely on upping the ante themselves. As a result we were treated to more guitar solos and synths (despite the keyboard sound coming across as very synthetic). Songs like Neend Na Aaye and Jo Dil Ne Kaha made it a fairly worthwhile album, especially if you’re a Fuzon fan.

Artiste/Band: Rahat Fateh Ali Khan
Album: Charkha

When Saiyaan kicked in, you knew you were in for something special. As it descended into a dance with trip-hop, the utter genius of Rohail Hyatt’s production work and Rahat Fateh Ali Khan’s voice was realised in an extraordinary fashion.

Charkha throughout flirted with superficial avant-garde (resembling a soundtrack for new-age film noir), world music, fusion and good old qawwali itself. Though at times this tended to sound a bit awkward, by and large it worked simply because of the two musicians at the helm. By incorporating varied influences, and with such a widened sonic palette, the album sounded fresh and contemporary, yet with its feet rooted firmly in sufi tradition.

With Abbas Premjee’s Elements, Charkha brings with itself a new found focus on classical music originating within the subcontinent’s rich cultural history.

Artiste/Band: Strings
Album: Koi Aanay Wala Hai

As the finale of Humsafar’s video rolled, I couldn’t help but grin at the fact that the song was represented wonderfully. Probably one of the best songs of the year, its beauty lies in its simplicity and adherence to the tried and tested Strings’ formula.

Usually, I’m not a fan of bands usually sticking to their guns, but for some who’ve carved out a niche for themselves, that’s the best (if not the only) option. Perhaps Strings were too comfortable in their cocoon and needed to break out — and perhaps that’s the very reason why Koi Aanay Wala Hai failed as an album. Full of half-baked, microwave ideas, it seemed like a meagre attempt at being different. Strings needed (to paraphrase a rather famous African-American) a scalpel, instead they went for a hatchet.

Artiste/Band: Abbas Premjee
Album: Elements

Probably the surprise gem of the year, Elements was a treatise in Indian classical music played through distinctly western instruments. Shying away from an album heavy in vocals, Premjee crafted songs that carried with them a strong Indian classical element, yet never alienated anyone who previously isn’t already a fan of the genre. Different from MHB in so far as this is less fusion, Elements incorporated both patiently plucked acoustic guitars and trebly, wafer-thin electric guitar playing — all the while supported by a strong percussive base that moulded traditional percussive instruments (table, darbuka) with a standard drumkit. Another strong element (no pun intended) of the album was the effortless atmosphere the songs managed to create. It’s quite like being either transported back in time (though with natural anachronisms). Maybe the biggest appeal of the album.

Year-end thoughts

This year brought us a lot of big name releases; Jal, Atif Aslam, Ali Azmat, Strings. All of them were built up immensely, and neither of them delivered. Even though Klashinfolk was a brilliant album, the expectations for it were perhaps unattainable. Strings were disappointing — they misjudged where they were in terms of deciding to reinvent themselves, and even then they failed to do much except perhaps get a botox injection. The year then largely belonged to the underdog. Zeb & Haniya came out with a stunning album that, along with Rahat Fateh Ali Khan’s Charkha, were the only realistic rivals to Klashinfolk for that mighty year-end accolade. Premjee’s Elements was another wonderful surprise that crept out from nowhere while Azal made quite a ruckus with their rhetoric.

As for 2009, there’s a lot to be optimistic about. Mauj and MHB are slated to release their albums after a whole year of making us drool in anticipation. The year 2008 was slated to be that of Mauj, but unfortunately their stars failed to align. Sajid and Zeeshan too are supposed to be nearly done with their album. So, if nothing else, 2009 will bring us three albums from three bands that are at the forefront of Pakistani music right now. With videos being aired by both Ali Zafar and Noori, it’s pertinent to assume that these two stalwarts too have something worthwhile lined up. As it may be, 2009 has more than enough cause for excitement.

link: OVER VIEW: The Year In Music -DAWN Images; December 28, 2008

Pakistani Pop Under Attack
by Shahzeb Shaikh

For the past few weeks, Australia and India have been battling it out for supremacy in the Border-Gavaskar Test series. A cricket buff like me will certainly not let a cricket extravaganza go without watching. I especially like watching Indian channels because of the attractive adverts and commercials they create. One such advert was that of a globally renowned credit card company, based on Ali Haider’s smash hit single, Purani Jeans. It was basically a reunion affair where friends, who have now become successful entrepreneurs, are shown meeting up after a long pause and celebrate their long-lived friendship.

Although the commercial didn’t showcase a single shot of the singer (glimpses of his CD were shown twice), yet his voice seemed familiar throughout the course. Purani Jeans has done wonders for Haider ever since its release in the mid-90′s. The song got even more hype when its video was shot in 1998 – that followed a similar theme about friends, past memories and a bright future.

Since it was for the first time a Pakistani concept was being use for such an extensive international corporate campaign, I excitedly called up Ali Haider to inquire more about the buzz. But, to my surprise, the pop icon was oblivious of the proceedings. He immediately logged on to the internet and watched the 1-minute long clip. It then dawned upon me that Ali hasn’t even sung the lyrics and everything was done without the permission of the artiste.

When I contacted Ali in this regard, he said, “I am very shocked to learn that the whole theme of the commercial has been copied and even the lyrics are sung by some local artiste without my permission. This is highly unprofessional and unethical.” According to the singer, when his legal advisor contacted the credit card company in India, its representative responded that they had been permitted by the artiste to carry on with the project. But after Ali made it clear that he had not permitted any such act, the company changed its statement and mentioned that it had bought the rights from Ali Haider’s record label that launched the album Sandesa in 1993 that featured the hit song, Purani Jeans.
According to international piracy laws, no one can re-sing a track without the artiste’s permission, even if the rights remain with the record label company. The record label can only re-do or remix the music if such terms exist in the contract.

Copying Pakistani music is not today’s headline. It has been happening for decades in the form of piracy, tributes and remixes. Even Ali’s old songs have been remixed and re-done by Bollywood composer, Bappi Lahri, on many occasions. A few other examples include:

• Rahim Shah’s hit song Ghum by Altaf Raja (1998) • Najam Sheraz’s Menu Tere Naal by Mahesh Bhatt in the form of Bheege Hont Tere, Murder (2004)
• Ho Sake To Mera Ek Kaam (Sitam), Music Director: Nikhil-Vinay, copied from Ho Sake (Arshad Mahmood) and Maya Hai Sab Maya Maya Hai (Faisal Latif)
• Aakhiyon Se Gal Karni (Shaadi Se Pehle), Music Director: Himesh Reshammiya, DJ Akbar Sami, DJ Suketu, copied from Asaan Jana Mal (Abrar-ul-Haq)
• Akhiyaan Na Maar (Ek Khiladi Ek Haseena) Music Director: Pritam, copied from, Challa (Waris Baig),
• Bheega Bheega (Chocolate), Music Director: Pritam, copied from December (Abrar-ul-Haq),
• Boohey Baariyan was imitated by Sajid-Wajid for the 2002 movie Hum Tumhare Hain Sanam. This Hadiqa tune was copied and used as the title song for the film, which was picturised on Shahrukh Khan and Madhuri Dixit.
• Dil Laga Liya Maine (Dil Hai Tumara) as the song was known, was picturised on Preity Zinta, Koi Aayega (Asambhav) Music Director: Viju Shah, copied from Mahi Aave Ga (Shazia Manzoor) and picturised on Priyanka Chopra.
• Another Shazia Manzoor copy is the 2001 blockbuster hit Shava Shava from the much hyped Kabhi Khushi Kabhie Gham. The slower passages in the middle of the song that goes, ‘Dekha Tenu Pehli Pehli…’ is a direct lift from Shazia Manzoor’s track Batiyan Bujaye Rakhdi. Shazia’s original track was part of her 1999 album, Chan Makhna.
• In 1997, a little-known Indian artiste, Jojo, copied a Vital Signs’ song, Woh Kaun Thi with only slight alterations to the lyrics.

Although the practice of “copying” music has been much curtailed by growing media awareness and the lessening of cross-border tension, and with the inclusion of Pakistani artistes such as Call, Suroor, Atif Aslam, Jawad Ahmed, Rahat Fateh Ali Khan, Strings, Shafqat Amanant Ali, etc. in Bollywood movies, this latest incident is once again an alarming situation for the Pakistani music scene.
Advertisements are money making tools for any company. But by using unoriginal and impermissible material, the Indians are making money with both hands. The fact that Ali Haider’s voice has been imitated to achieve the required objectives is a wake-up call for Pakistani artistes. “It’s high time we should safeguard our musical heritage. If a local Indian can replicate my voice, then rest assured there will be imitations of the likes of Atif, Ali Zafar, Shafqat Amanat and many more in the near future,” says Ali. Another one of his concerns is the fact that many of his songs, other than Purani Jeans, such as Qarar, Zalim Nazaron Se, etc. are popular in India and he fears them being copied, too, if some serious action isn’t taken instantly.

So what will be his next step to counter this mishap? “I am definitely going to sue them for damages in the court of law for copying my legitimate property. My lawyer has assured me that no one has the right to re-sing my track without my permission and this is a good enough reason. Had they asked me for proper permission, I may have given it to them in good will,” replies Ali in a confident tone and adds, ”I am flying down to India later this month to pursue the proceedings.” Regarding his future plans, he informed, “I have recently shot a new video that will soon be on air, coinciding with my album, Jaaney Do’s release in India.”

It’s high time Pakistani artistes take action to safeguard their intellectual property rights. It’s true that the Indian market is a platform to reach the world yet our artistes shouldn’t give away their songs for free and should get involved in dignified deals. Here’s hoping Ali succeeds in his efforts to attain justice.•