ALBUM REVIEW: Ahmed Jehanzeb’s Laut Aao
By savaiz bokhari
Our two cent on the Wonder Boy’s second album.
Ahmed Jehanzeb has proven himself to be a talented musician. So far he has one hit album to his credit as well as several title songs for Pakistani television dramas and the one-off collaboration for a song on Shoaib Mansoor’s Khuda Kay Liye soundtrack.
I quote here from his album sleeve: I am what I am only because of the true love, guidance and comfort provided to me by my family. They are the foundation and proof of (who) I am. I thank my family especially my father, Capt. Sabir Ahmed, without whose support I would have never achieved what I have today.
Jehanzeb further shows his understanding of music’s (spiritual) nature when he outlines his philosophy in these words: I strongly believe in the saying ‘Music is food for the Soul’. It is the best way of communication. In my point of view music provides purity and clarity to one’s soul. It is the truest form of expression for an artist. True music requires education, training, hard work & like any other field, raw talent has to be nurtured and that is the reason I was given the opportunity to educate myself in the art of classical music.
His recent album, Laut Aao, predictably starts off with the song released earlier as a single and used in the promotional video of the album, Chandni Raat Mein. The single demonstrates that Ahmed isn’t just all about sad ditties. This one’s more contemporary and has a faster tempo than his earlier sombre style. Interestingly, Ahmed humbly gives all the credit for the success of the song to the video director, Kookie V. Gulati.
If Chandni Raat Mein sets the tone, Mein Aur Tu is evidence that people with contrasting composition styles should work together (Sachin Gupta and Ahmed in this case) on a joint composition if they compliment each other. The more rock-inspired composition of Sachin blends almost organically with Ahmed’s melodic vocals and rather haunting compositions.
In Bol Mahiya Ve the opening sequence featuring the vocals (in English) by Tara Baswani is yet another organic progression which gives way to a near-qawwali harmonium synthesised effect in mid-song. Ahmed’s advanced control over folk singing shines through this very interesting tune. Lagan Lagi, however, disappoints as it is in the ‘please Bollywood’ mode and is uselessly techno in its sound. Ahmed’s vocals don’t go very well (despite his best efforts) with this sort of music. Up next is the title track, Laut Aao, and despite being a haunting number it isn’t exactly the best song in the album due to the remix effect. The song could have done without the brrr-ing effect which is mostly distracting for the listener.
Tere Bina Jeena is another song that Ahmed must be swearing by as the album’s next hit (he has even included a blues-mix version of the song towards the end accompanying similar rehashed versions of Chandni Raat Mein and Mein Aur Tu). While the song is lively, it seems short on something. Dekha Mein Ne Nahin is another song possibly composed for a Bollywood production rather than being a pop number.
Amazingly, Jiss Ko Bhi Lageya is vintage Ahmed at the start coupled with some vintage rock guitar during the chorus. This is one song that can be predicted as a true hit. Jab Tumhari Yaad is again in Ahmed’s newfound ‘pop-rock’ style. It comes across as one where the singer is probably burying his past and preparing to move on.
The rock infusion seems to have added a contemporary feel to Ahmed’s work, and one feels it would be fantastic if he can follow up more on this style of music composition.
Wednesday, June 24, 2009
Album Review: Ahmed Jehanzeb’s 'Laut Aao'
Music Album Review: Fuzon - Journey
Music Album Review: Fuzon - Journey
The second coming of Fuzon
After 2002's phenomenal Saagar, Fuzon is back with a new album and a new vocalist. The big question: does it work? Instep finds out…
By Maheen Sabeeh
Artist: Fuzon
How has the journey been?
It's been long a while since Saagar. A lot has happened. Shafqat Amanat Ali Khan has gone solo while Rameez Mukhtar has been brought in… in his place. In between guys like Ali Zafar and Atif Aslam have come and are beating in the hearts of the people.
Nusrat Fateh Ali Khan's protégé, his nephew has taken his legacy forward and has come out with an album that is easily one of the best ever made in Pakistan.
There is a lot of competition out there. But Fuzon still took a plunge and that took courage. Since their first single 'Neend Na Aaye' has released, there is a debate happening.
Is Rameez imitating Shafqat?" or "He is good!" or "No, he isn't". Instead of debating, let's take a look at the full-fledged journey of Fuzon and then decide…
The best song on the album is without a doubt, 'Neend Na Aaye'. The music is lovely, no long painful solos here. Rameez's vocals shine through like magic. He is impressive and without a doubt, a talent that is very good for Fuzon.
Emmu's tryst with keyboards is, as always, soulful and forms a rich sound while Shallum's The Edge-like (U2) guitar playing is sharp yet not too ambitious as is the case with most guitarists in Pakistan.
Unlike Saagar, there are not too many ballads. Most of the songs dabble in the pop-rock genre that is more on the faster side.
'Abhi Hum Kahan Hain' is one example. Simply put, it is infectious, split amidst gloom and subtle hope. Halfway into the song, Rameez hits some serious notes and suddenly the melody slows down, and then Emu and Shallum run the show, passively and aggressively respectively. It works.
'Choo Le' kicks some serious butt. The opening riff strikes an uncanny resemblance to Junoon's 'Yeh Mazaa Zindagi Ka' and for the first time maybe, Shallum pulls a Salman Ahmed on a song and it's really interesting. It's the kind of riff that is instantly addictive and Shallum stretches it into varied directions without making the song about the riff alone. Rameez moves with the pace and the rhythm. A thumping song.
'Paree' is another. A fun-filled number, Shallum's flirting with guitars is charming while Rameez, it seems enjoys the image of 'Paree' who comes into his dreams. This tune should be a hit at gigs for the band and with Shallum's ability to improvise, it'll be one hell of a song to see live.
'Tu Kahan' is actually even better. As Rameez sings, "Roshni Kahan Gum Gayo/Abhi Tau Yaha Jala Tha Dia/Kho Gaye/ Kahan Kho Gaye/Abhi Tau Yeh Dil Laga Hee Nahi Tha" - it sounds hurtful, which is exactly how it should be.
Come to ballads and the one that is most effective is 'Suna Suna'. Shallum's very subtle with guitars, stringing soft notes while Emu providing ample support vis-à-vis keyboards. The real charmer, however, is Rameez. He is emotive and he sings freely and goes on, "Teri Yaadon Mein Jiya Yeh Khona Laga/Suna Suna Yeh Sama Karkey Na Ja Balma/Aakey Na Ja Balma" - a throbbing tune.
'Jo Dil Ne Kahan' is a moody tune. Slightly trippy, beautiful and sharp. Instruments here vary and form an incredible soundboard. Rameez is delightful, full of conviction and appealing all the way.
There are some flaws. 'Atish O Aab' begins with a hypnotic thumping sound and launches into tipsy flute and powerful guitar. But the melody is extremely weak and doesn't fit in anywhere in the album. Skip it.
Another is 'Teri Yaadaan'. It's loud, chaotic and shows the limits to Rameez's vocals. Same problem plagues 'Dholna' where vocals fall extremely short.
A little rewind…
When 'Aankon Kay Saagar' came out, it catapulted Fuzon to instant fame. It wasn't the video that did the trick. This was a simple video that was a platform for the band to perform, courtesy Sohail Javed.
Rather Shafqat Amanat Ali Khan, the 7th member of the famous Patiala gharana with his beautiful voice, and musicians Shallum and Emu as a lethal trio that caught attention.
One year later, 2002, Fuzon released their phenomenal debut, the mighty, nay, mightiest Saagar, and for the first time fusion was created in a way that was musically fresh, crisp and accessible that is a problem with fusion records here.
Alas! A band came that was catering to mature audiences as well as the youth and wasn't trying to become the next big pop act. They stayed true to their name and made fusion. It was understandable why they became a band that rose high.
Music critic Nadeem Farooq Paracha termed 'Saagar' among the ten best albums of all times!
Why was Saagar so good? There are three reasons. (A) Shafqat Amanat Ali Khan (b) true fusion that was musically fresh, lyrically simple and cohesive and (c) the coming together of Emu and Shallum who didn't hurt the beauty of the album by being ambitious with riffs, throwing in long solos. They gave it a structure that was contemporary.
Songs like 'Khamaaj' make your heart skip a beat every single time. This was music that was long-lasting and would continue to play with your heart and mind for a long time to come. And hey, it still does.
It is simply unrealistic to expect a band that doesn't even have the same vocalist to beat Saagar. It is like expecting Salman Ahmed to make something as incredible as Parvaaz without the powerful Ali Azmat.
It is our history
Bands breaking up in Pakistan are a norm. It happened with some of the best. Vital Signs took a break and never came back. Rohail Hyatt and Shahi Hasan became producers par excellence while Junaid Jamshed continued as a soloist and a great one at that until 'religion' came calling.
With ten albums to their credit, Junoon was the groundbreaking rock act that the subcontinent ever produced. Ali Azmat went solo with Social Circus and proved his mettle as a musician while Salman Ahmed turned a vocalist and made an album, Infinity, and is doing well for himself in the United States.
One-album old Aaroh broke up with Farooq Ahmed and Khalid Khan sticking together and creating a new album while Nabeel disappeared into oblivion.
Jal too broke up after one single. Atif Aslam became a superstar as a solo act and Gohar Mumtaz continued as Jal with Farhan and Shazi and they too are doing well.
Two albums later Noori is AWOL. Gumby left and so did Mohammed Ali Jafri while brothers Ali Noor and Ali Hamza are still united although we don't know if and when an album will come out.
I could go on about Karavan and Raeth but it would be futile.
The bottom line here is this: separating doesn't mean the end. It never has and it never will. But it does mean that some of the magic does disappear. Take the greatest musical act of all times, The Beatles for example. John Lennon and Paul McCartney when together were awesome. As soloists, they raked in the moolah and made some seriously good music. But did they surpass Sgt. Pepper's Lonely Hearts Club Band?
No, because as drummer Gumby once said, "A band is a unit. Everyone has a role to play and it is when everyone plays a part, something incredible happens."
Fuzon's biggest asset was Shafqat Amanat Ali Khan. His voice is like magic, unbeatable, inimitable and tugs at the heart, whether it is in the form of Bollywood ditty, 'Mitwa' or in the joyful 'Deewanay'.
He came with knowledge that has been passed on to him as legacy. It is heritage. Songs like 'Khamaaj' are not just beautiful because the piano solo or the guitars are lovely but also because it was a raag that was made contemporary and on that front, Shafqat was the expect.
How can then we expect the new Fuzon to retain and recreate the same magic?
Perhaps the only one who can is Shafqat. I say perhaps because Fuzon was a band and Shallum and Emmu did play a role and produced the album.
The mistake Fuzon made, they kept the name. They shouldn't have. As long as we keep calling them Fuzon, we will continue to think of the old Fuzon and this isn't the same band.
All said and done, Journey is a good album. It is patchy in places but over all, it is a decent effort for a debut act and that is exactly what they are. This is the first time Emmu and Shallum are working with Rameez and that makes it a first.
Fuzon has a long way to go and chances are that they will survive. The industry is small and there is room for them as well as Shafqat.
SOUND CHECK: Vitology: the definitive Vital Signs discography
SOUND CHECK: Vitology: the definitive Vital Signs discography
Album title: VS-1
Year of release: 1989
Rating: ****
This is the album that proudly defines the beginnings of Pakistani pop music as we know it today. Eschewing the one-dimensional sonic set-up of pre-Signs local pop, the Signs stretched the home-grown pop dynamic by adding to it allusions to slick ‘synth-pop’ — all tastefully weaved together with inspirations gathered from the melodic filmi music of composer Robin Ghosh and vocalists such as Alamgir.
The resultant sound is a breed apart compared to what had come in the name of Pakistani pop music before; kicking-off with the conceptually cheesy but highly infectious patriotic chestnut, Dil Dil Pakistan, the album confidently sprints across vintage teeny-bopper trappings such as Gori, Ankehn, and Samjana.
But this is just the surface stuff dished out to attract a new generation of teenagers who had rolled into a new socio-political reality at the violent end of the repressive Zia-ul-Haq dictatorship.
Lying beneath the bubbly teen anthems is the heart of the album, melodically manifested by three outstanding numbers: Doh Pal Ka, Musafir and Yeh Shaam.
Doh Pal Ka is a standard pop-rock number, but without the pretentious bombast of 1980s “hair-metal.” What’s more, the galloping tune never loses sight of melody even as guitarist Salman Ahmed exhibits his early moorings for spontaneous riff-making, an art he would eventually perfect with Junoon.
Musafir on the other hand is literally dripping with melodic appeal, displaying the early beginnings of the Signs’ melancholic side. A highly underrated number, Musafir sees vocalist Junaid Jamshed demonstrate infectious vocal dexterity, and keyboard/synth-player, Rohail Hayaat create his initial opportunity to play around with Floydian atmospherics.
Yeh Shaam is cut from the same cloth and is even more brooding in mood. Salman Ahmed does well to make his guitar faithfully follow Junaid’s longing vocals.
Album title: VS-2
Year of release: 1991
Rating: *****
The incredible commercial success of VS-1 turned the Signs into an overnight sensation. But sudden stardom also came with a cost, as fissures started to appear on the band’s gold-plated armor.
The psychic clash emerging from Salman’s boisterous persona and Rohail’s sulking disposition saw the unceremonious exit of Salman who was soon replaced by Rizwan-ul-Haq.
Then Junaid too threatened to leave, wanting to pursue engineering as a profession. In the chaos, the Signs managed to collect a lucrative sponsorship deal from a cola company. However, out of this mess arrived not only the band’s finest (and darkest) album to date — it also remains to be perhaps one of finest sonic documents of local pop music in the country, even eighteen years after it was first released.
The stand-out tunes are many, led by Ajnabi, Hum Rahey Rahi, Nazar, and Yadh Rakhna. Each track is a convincing testament to melody-rich pop music offered on a dark, brooding Floydian platter. Each member of the band seems to be in top form, especially vocalist Junaid and synth-player and producer, Rohail. New guitarist Rizwan-ul-Haq feels right at home plucking out melodic riffs and leads and hanging on well with the album’s somber mood.
Bassist Shahzad Hassn, who unfortunately remains as one of the scene’s most underrated player, too comes into the picture, steadily pacing up with the thumping, galloping drum dynamics of Bazaar and the apocalyptic, Aisa Na Ho. No doubt, VS-2 remains to be an evergreen gem and a definite Pakistani pop classic.
Album title: Aetibar
Year of release: 1993
Rating: **1/2
The year 1993 was perhaps the most stable period in the band’s career. Maybe that’s why it decided to pull itself out from the brooding, forlorn disposition it found itself on VS-2 and create an album that was closer in sound and mood of VS-1. But the attempt to revert back to happier music was a disappointment. Apart from the lovely title-track, Aietebar and the meaty Yeh Zameen there’s not much else on the album apart from disposable pop fluff.
Album title: Greatest Hits
Year of release: 1994
Rating: **
This was a formulaic greatest hits package that missed out on some vital VS moments.
Album title: Hum Tum
Year of release: 1995
Rating: *****
This was a formidable album which, like VS-2, emerged from tense intra-band turmoil. Rizwan was shown the door, replaced by technical guitar whiz, Aamir Zaki, who after recording just three songs was asked to exit as well and former Awaz six-stringer, Assad Ahmed was taken on board. But before Zaki’s sudden firing, it was band leader, Rohail who quit, clashing with Junaid over a contractual obligation the band had for a series of concerts in the US.
The band toured without Rohail, but returned to take him back in to the fold and instead asked Zaki to depart, allegedly on Rohail’s behest. Also, Junaid, though at the peak of his singing abilities, had started to show the first signs of an emotional and existential crisis that would eventually see him quit music and take up preaching some six years down the road. And if we (gladly) skip the first two songs of Hum Tum –— especially the cheerfully xenophobic, Hum Jeetain Gay — each and every song is a more-than-direct allusion to a band melting helplessly away towards an eventual break-up — but what a melting indeed.
Quite like VS-2, the mood on Hum Tum is somber, but more stoic and fatalistic, as Junaid brilliantly mouth’s Shoaib Mansoor’s words of fatalistic resignation, misunderstanding and unrequited emotions on such gems as, Jana, Jana, Hum Tum, Dair Hogai and Namumkin.
Rohail paints in loads of sonic allusions to Floydian landscapes, whereas delivering one of the funkiest VS tunes in the shape of the epic, Main Chup Reha. Asad’s playing and fiddling with the wah-wah pedal is a retainable treat on this song.
The album’s musicianship, production and vocals prove that VS had hit a peak of sorts and would have been able to dish out at least a few more decent albums. But alas, that was not to be, and perhaps never will.
Album title: VS-Remixes
Year of release: 1999
Rating: *
An interesting idea, but one that just fails to take hold as most songs here are reduced to tin-like dance routines and cynically regulated into the obnoxious jhankaar territory. Only the remix version of Dil, Dil Pakistan, and the last recorded VS song, Maula escape mediocrity, but only just. — NFP
Album Review: Akash - AKS
Album Review: Akash - AKS
The first reflection of Akash
A gothic sound and a number called 'Rock Funda'… Instep checks out Akash's debut offering.
By Sajida Khanum
Although a new and upcoming rock band, Akash are not entirely novices and have been wowing the Pakistani youth with hit singles including 'Ji Liya' and 'Armaan', edgy music videos and their electrifying live performances nationwide.
The band constitutes 4 members. The front man is Sam, real name. Akash, whom the band is named after and rightly so, not only has he lent his vocals, but produced, composed, penned the lyrics and completed all other audio production for Aks. Other band members are Kenny (Xerick) on drums, Miki (Shaleem) rhythm guitar and Fiz (Faisal) on bass-guitar; however Sam has also had some input in the drumming and guitar side of things too on a number of songs in the album. The busy man laboured over Aks in his own studio where he is also currently working with other upcoming bands and artists. Sam is also preparing Aks for release across the border, where the band has garnered some interest from young Indian fans.
Aks' CD cover has a dark theme reflecting the haunting, gothic sound of the album, not to be fooled though as there is plenty of variety here to keep listeners on their toes with a handful of slow ballads and some happier, upbeat numbers.
The album has a tres generous helping of 19 songs, (including an intro and two remixes) proving to be a real treat, not to mention value for money for Akash fans.
Aks starts with an intro, setting the scene for the songs to follow, a sentimental and dramatic ambience, with Sam's Urdu verses backed by the customary guitar strings and drum percussions.
The hit song 'Ji Liya' kicks off the album, A mega rock anthem, which brought Akash into their own, having them establish their own distinct sound with its gothic charm. It has been firmly slotted in the winning half of the local chart scene in recent weeks, definitely an exciting number with its full on 'head banger' chorus. If 'Ji Liya' is your cup of tea, you will also like 'Hum Azaad Hain', a patriotic tarana with a difference, again a 'haunting' rock number with a strong and captivating melody, although I felt it is let down by poor production which is quite noticeable in this song upon closer listening. Then there's 'Tum Kahan Ho', a reprise of 'Ji Liya', a melancholy, more acoustic 'Ji Liya' that is, which involves lots of raag's. Unfortunately these raags and the high-toned singing doesn't really harmonise well with the backing music, although die-hard 'Ji Liya' fans may beg to differ.
'Piya' is a stand alone song and has a sentimental and edgy rock sound, This song could be imagined as an old romantic ghazal from a 60's Pakistani's movie, sang from the heart by the great Mehdi Hasan, pictured on a hero like the late Muhammad Ali 'pining for his heroine' , but now imagine that fused with a heavy rock sound! We can be happy with the fact that this is Akash's own labour here and certainly not lifted from some old movie and Sam's vocals are really outstanding here.
'Kho Gaya Hoon', is an instant favourite for its infectious sound, seems Akash are paying homage to the classic 90's Paki-pop genre here, so one can say it has a huge dose of comforting familiarity.
Sam is experimenting with his vocals well in 'Kabhi' and 2005's big hit 'Aaj Phir', The latteris a soft and delightful ballad. This number reveals Sam's vocal miscellany, as he dabbles in eastern classical territory, for someone who isn't properly trained in classical music it's quite a pleasant surprise, particular those of us not accustomed to heavy rock sounds.
'Ajnabi', 'Kyun' and 'Na Mil Saka' are experimental fusion sounds. 'Ajnabi' starts with the blissful sound of violins, soon caught up with drum percussions and the chorus is quite catchy, these factors create a song worth appreciating; however one may find a slight inconsistency with Sam's vocals.
'Kyun' starts with a promising intro with the flute followed by heavy Akash signature drums and guitar notes, Sam's back on form with much gusto packed into his vocals.
After the flute and the violins, the Sitar's turn is up next in 'Na Mil Saka'. Fused with an acoustic guitar, makes a nice Eastern surprise in this heavily western influenced album, however it loses its charm gradually from around the first chorus. It has a nice 'show-off' guitar solo in there though to finish the song off, which is impressive enough to win its listeners back.
No modern album is complete without an instrumental thrown in; here we have 'My Last Breath', which can be described as intense with blazing guitar solos and heavy riffs and with a boldly emphasised melody.
'Zindagi' and 'Tanha' (alternative version of Ajnabi) are two unplugged numbers, soft acoustic and melancholic sounds depicting a lovers yearning. Listen out for the violins too!
The happier, upbeat numbers well suited for parties like 'Rock Funda'; a heavy and engaging 'fun' rock ditty complete with English rap, with an impressive composition and for those of you who have seen the lighthearted, funny video for 'Armaan', you will already be familiar with this entertaining, boogey-able number.
'Do Tin Chaar' also is a fun number, a medley which starts with a country and western sound and will have you swept up into a silly mood, complete with it's tongue in cheek lyrics.
Aks comes to a close with the remixes for 'Armaan' and 'Ji Liya', ending the album on an optimistic note, both remixes are loyal to the original songs, but with added thudding bass lines, definitely great for parties, maybe better suited for the young'uns.
I found this album more to be more of a thrilling ride for the younger listeners, or for the ''young at heart'' of course therefore it isn't really recommended for all, it certainly isn't 'easy listening', and at times I felt it lacked an altogether more wholesome sound with slightly less than adequate production quality, however these two factors can be overlooked in contrast to it's freshly baked, hummable melodies, quite distinct in their sound, these songs will play in your head long after you have stopped listening to them, and for the sheer quantity of the songs giving it an added bonus, also noting that the band haven't compromised on creativity, with its many experimental sounds making it an overall excellent effort from a new rock act.
Album Review: Strings - Koi Aanay Wala Hai
Album Review: Strings - Koi Aanay Wala Hai
The impeccable return of Strings
It is a milestone. It is experimental. It is reinvention. It is the comeback of the two most talented men Pakistan has ever produced. Koi Aanay Wala Hai is a masterpiece, one that reintroduces us to Strings in a new avatar.
By Maheen Sabeeh
The fifth element
Koi Aanay Wala Hai is the most impeccable album in markets right now, the only one that is as brilliant in its sound, concept and creation as Rahat Fateh Ali Khan's Charkha.
A turn of the decade is what Koi Aanay Wala Hai is for Strings, the most consistent musical act of Faisal Kapadia and Bilal Maqsood, who have never failed to surprise us.
Their latest, the gorgeous and thoroughly conceived video of their comeback single, 'Koi Aanay Wala Hai' that features John Abraham, looking his best as an angel, was a sign of things to come.
Startling effects, cloudy skies, an innocent love and Strings looking suave, stylish and perfectly coordinated in black suits, singing and playing guitar in their element, and that too in the skyscraping surroundings of Kuala Lumpur, it was the perfect pitch to tell their fans that they were back, indeed.
The now-monster hit has Faisal trooping along with natural ease to Anwar Maqsood's words, "Dhadkan Keh Rahi Ha/Yaha Koi Aanay Wala Hai/Sawan Keh Raha Hai/Badal Koi Chaanay Wala Hai" while the song is one that grows on you, slowly and steadily.
A sing-along factor persists throughout, a riff-rock treatment, and the biggest asset of the band, Faisal's voice, that never lets you down with Bilal sings softly 'Koi Aanay Wala Hai' as chorus hits, its an impressive beginning.
Now together for 18 years, this is a band that has miraculously avoided repetition on their records. It is as if Strings pick up an idea and 50 seconds later steamroll it on their way to a new concept and that is what they have done with Koi Aanay Wala Hai.
The wall of sound
If one were to define this album in one word, it would be 'masterpiece'. And that is because this is an album where 12 songs are woven together so artfully that one can't help but just marvel at the Strings.
And here is why Koi Aanay Wala Hai is a milestone for Bilal Maqsood and Faisal Kapadia. The band has retained their signature but for the most part, the album is an out and out experiment, which is not easy. Because by the fifth album, listeners tend to expect a certain sound. To take a 360-degree turn at this stage of their careers, it shows courage. It is the kind of step that has reaffirmed faith in the band once again.
Koi Aanay Wala Hai can be divided into two parts.
One, edgy, abrasive over-the-top rock songs that can play lesson to other aspiring rock acts (and current existing ones) and two, beautiful, soulful poppy tunes that remains the forte of Strings.
From the infectious 'Koi Aanay Wala' to the celebratory air of 'Aik Do Teen', the soft gloom of 'Titliyan', the introspective 'Sonay Do' and the excellent wake-up call of 'Jago' there is not a single flaw on this album.
Anwar Maqsood deserves equal applause for improving to such a level from last time that he just stuns you. And yes, there are still phrases like 'Badal, Ghata' and some of the other usual suspects but they blend so well with Faisal's inimitable vocals that one can't complain.
For the most part, the album remains positive and that is delightful. Rock music tends to get morbid, which eventually makes it tedious and sometimes forgettable.
And yes, it is also a rock album, in most places. And not the kind of monotonous album that has a mind-numbing number of riffs placed at equal distance. But mature rock that will remain embedded in memories as a classic.
It is present on the bouncy 'Aik Do Teen' with its jubilance that hits you in the soul while the words tell you a magical story about a fairy with a wand. If granted a wish, what would it be? It starts off from materialism and eventually ends at a better world as the wordplay goes, "Aik Do Teen/Kaisa Badla Scene/Dunya Thee Haseen/Jo Maanga Sab Tha/Har Basti Mein Ujala Tha/Haaton Mein Niwala Tha".
Faisal sings with such enjoyment and precision that he takes you inside the world of this story because it is written with such depth that imagination can almost paint a picture inside your head.
Move on to 'Jago' and one finds scorching guitars, a glimpse of hope and Bilal's energetic call to wake-up and see the world.
'Jab Logon Mein Tera Dil Ghabraye/To Tum Khud He Se Poocho/Kyun Tarey Raistey Hain Uljhay/Tum Un Par Daikho Chal Kai/Jag Utho Dekho" – what a pleasant concoction of rock and pop seamlessly woven together.
The blistering rock continues with the re-worked versions of 'Jab Bhi Mein (Strings 2) and 'Jab Say Tumko' (Strings). And this is exactly how songs should be re-worked.
Both tunes get massive makeovers even as the melody remains the some. And usually that can kill the song. 'Qaraar' re-done on Ali Haider's last album Jaanay Do and 'Khwab' re-done by Salman Ahmed on Deewar are two prime examples about how re-worked versions can go wrong.
Thankfully no such problem comes here.
Jagged guitars, stimulating keyboards, and a lot more energy than the first time, 'Jab Bhi Mein' is in one word, rocking.
'Jab Say Tumko' is even funkier - the most out there, meatiest number Strings have done, ever. Assaulting riffs, Faisal Kapadia's vocals passionate and very different on most parts – slightly hypnotic and twisted around admirably – and drums sequenced to a perfect sound to match the loud guitars – what a reinvention it really is.
Now it can be understood where Strings have been for five years.
They were creating rock magic and making sure at the same time that old pop fans don't get disappointed.
Hence we find numbers like 'Sonay Do', Titliyan', 'Hum Safar' and 'Keh Dia' and they tell us why Strings are the kings of pop.
The magic of Bilal's light vocals on 'Sonay Do', the level of optimism is not lost. And it has to be said that 'Sonay Do' is to Koi Aanay Wala Hai what 'Khirki' was to Duur. The main difference remains the musical treatment and the tone, which remains positive. The subtle instrumentation that creates a mood of tranquility and simplicity is top-notch.
And the feeling of is surrealism comes with Bilal calmly singing, "Neeli dhoop ki kirnay/Haathon mein rakhta hoon/mujhay urtay hee janay hai/Yeh manzar kya suhana hai/Aankh lagi to dunya badli ho/Sonay Do".
'Sonay Do' is a song is one that almost anyone can relate to. The catchphrase, "Aankh lagi to dunya badli ho/Sonay Do" is so true to these rapidly changing times.
'Hum Safar' which is next in line for a video, at the able hands of Jami (shot in Moscow) is the gentle ballad of this ambitious record with a wailing guitar, engaging ambience, and fierce emotions with an emotive Faisal Kapadia singing as stunning studio wizardry makes its mark. It's a beautiful tune. And equally beautiful is 'Keh Dia' that celebrates falling in love, joyful moments that come through from "Haee Ya", a subtle guitar playing in the background, while 'Titliyan' with its sonorous flute, bluesy tortuous guitar and lush instrumentation and two voices that compliment each other flawlessly is incredible.
'Hum Hee Hum' is not as excellent as the rest of the 11 tracks. It is, however, a cut above average. Confident, self-assuring tune that falls in the traditional category of straight-up pop rock. A video is already out vis-a-via Mobilink tie-up. And while it is a corporate video, it does match to the mood of the song, which is reflective of hopeful, happy youngsters.
The last two songs on the album, 'Zinda' – that was created for Sanjay Dutt-John Abraham starrer Zinda - and 'Aakhri Alvida' – that was made for Sanjay Dutt-produced Shootout at Lokhandwala featuring the mighty Dutt himself alongside Vivek Oberoi – bring the album to a fitting end.
It was a smart call to put these two tunes on this album because they gel well with the rest of the songs like two pieces that complete a puzzle.
Whether it is 'Aakhri Alvida' with its haunting undertones, mournful guitars weaving a gloomy world of uncertainty and goodbye or the lingering effect of 'Zinda', both songs belong to the album.
Simon Cowell admits mistakes made in handling Susan Boyle
Simon Cowell admits mistakes made in handling Susan Boyle
Even the acerbic judge of American Idol and Britain's Got Talent can admit he has made mistakes. The music producer recently wrote in the Daily Mail that he felt mistakes were made in handling the YouTube sensation Susan Boyle, who suffered a breakdown after she lost the show's final.
"Looking back on it all, it has become clear to me that we didn't handle the situation with Susan as well as we could have," Cowell wrote.
Cowell recalled thinking that Boyle didn't instantly jump out at him. "I certainly didn't think: 'Here comes a phenomenon who is going to become the most famous woman in the world, I wonder if she can mentally cope with it?'" Cowell wrote.
A few weeks later when the two appeared on Oprah via satellite, Cowell said Boyle was handling her newfound fame well. It wasn't until the finale neared that Cowell started to see the cracks.
Cowell became the most concerned when Boyle lost the competition. "During the final show, when the dance group Diversity won, I looked over at her face and thought: 'Christ, she doesn't know how to deal with not winning.'"
Cowell vowed his continued support of the singer, but he also questioned if - "mistakes" or not - this could have been handled differently. He said Boyle's family believes the show did the right thing.
"They said that Susan has always wanted to sing and had sat at home for years, wishing that she had a chance. We had given her that opportunity.... Yes, there have been problems, but overall I think it is a positive experience for her. I'm glad we gave her this opportunity and - more importantly - I think Susan is as well."