Musik Pakistan: Shafqat Amanat Ali

Rahat Fateh Ali and Shafqat sing a duet for My Name is Khan

Strings deny involvement with the film

If it’s a Shah Rukh Khan-Karan Johar film, everything in it would be grand. Especially since Aamir Khan’s 3 Idiots is making all the moolah at the box office.

Sneaky Mr Johar has scored a major coup by getting Rahat Fateh Ali Khan and Shafqat Amanat Ali Khan to sing a duet together. The story began somewhere last week when it leaked over the Internet that Shafqat, Rahat and Strings are all doing songs for this much-talked about film.

Performances by Sajjad Ali, Fariha Parvez, Ahmed Jahanzeb, Ali Haider, Humera Channa, Huma Khawaja, Shafqat Amanat Ali Khan, Amanat Ali, Ahmed Jahanzeb, Tehseen Javed.

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Part 2 Of The Show

Part 1 of 6 - Aaj Janey Ki Zid Na Karo

Part 2 of 6 - Aaj Janey Ki Zid Na Karo

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Part 5 of 6 - Aaj Janey Ki Zid Na Karo

Part 6 of 6 - FINAL - Aaj Janey Ki Zid Na Karo

Shafqat Amanat Ali appeared at Indian Idol Rubaroo on Oct 30th 2008. Looks like he had good time with the youngsters.

Beyond the long shadow of Fuzon

The original Fuzon and their debut, Saagar, is considered one of the best albums of the decade. But the band didn't last. Shafqat Amanat Ali went solo with Tabeer while Fuzon recreated themselves with a new vocalist Rameez Mukhtar and a new album Journey.

By Maheen Sabeeh

Butterfly effect

The original Fuzon has the kind of complicated, tortuous story that would send a less dynamic band into oblivion. However, since this former trio is as compelling as it gets; they have all survived on.

Shafqat Amanat Ali Khan is now a solo trooper in the music scene. Meanwhile former band mates Shallum Xavier and Emu resuscitated their claim to fame act Fuzon with a new singer, Rameez Mukhtar.

And fortunately both acts delivered on their promise of a new album ala Shafqat's Tabeer and Fuzon's Journey.

Now though with both records out, the question that one predicted since the band first broke up has been hanging in the air: which is better? Most importantly, does it surpass the genius of Saagar?

Neither of the two can be answered in a simple yes or no. The only thing more complicated than creating an actual record is deciphering the feeling behind it and its timing. There is a trickle down effect to every piece of music created. What Saagar did for the music industry is very different from what Tabeer and Journey are doing. And that is exactly the case here. But first a look at the two records…

Tabeer vs Journey: the similarities

In some ways, Tabeer and Journey are similar. Both boast of incredibly powerful singers. Shafqat Amanat Ali Khan is of course the bigger draw. The son of Ustad Amanat Ali Khan, the seventh son from the prestigious Patiala gharana has deep, untainted vocals that remain unmatchable. Not enough can be said for the sheer power of Shafqat Amanat Ali Khan. It is the kind of voice that is not only inimitable but one that stands tall in front of both pop superstars and rock chameleons.

Rameez Mukhtar, while not exactly another Shafqat in the making, is a decent singer and is capable of hitting just the right notes without being off key, which is just such an underrated feat today in the industry. We often tend to dismiss the 'baysura' element in our singers in front of other qualities such as star power, popularity and other factors. And this is where Rameez delivers.

The other similarity is that of 'fusion' itself.

Shafqat and Fuzon have stated that their records are a fusion of genres. While the songwriting is driven from Eastern ethos such as raags and kafis from ancient kalaams by Sufi names, the music is made contemporary, making it more relatable for an entire generation unaware of the massive heritage that we call our own.

Fuzon's (the new one) lead single, 'Neend Na Aaye' is driven from Raag Aiman while Shafqat's Pagalpan off Tabeer is an inspiration from Sindhi folk. Both Shafqat and Fuzon have based their music around basic compositions that have been around for quite some time.

The difference

Tabeer

As always, it isn't a composition, on its own that makes it a favourite with fans but the treatment that makes the real, long lasting difference. And when it comes to treatment, Shafqat Amanat Ali Khan takes the cake.

From nowhere does Tabeer sound like Saagar. This album swells and expands in directions that Saagar never took.

Unlike Saagar, Tabeer is hardly mournful. Au contraire, it is a concoction of songs that have a kind of universal melancholy that sporadically plays with the sunshine effect.

'Khairheyan De Naal' based on a composition by Tufail Niazi, with its languid nature, subtle guitars and rolling drums is astonishing.

The Darbari-based 'Kartar' is the high point of Shafqat's vocal virtuosity and with the grandiose orchestration, it is brilliant.

Meanwhile 'Rohi' (originally sung by Zahida Parveen) is an intriguing blend of East-West. The sparse and peaceful introduction just gives it a soothing tone and the beautiful flute gives this tune such a solid character.

On 'Naina' tinkling piano notes, smooth guitars, subtle percussion and storytelling-like lyrics make it one of the many powerful songs on this record.

'Rang Le' and 'Bulleh Shah' are the dark, haunting tunes of the record with calming vocals and atmospheric mood.

Manqabat' and 'Dum Ali Ali Dum' despite the many versions around have the kind of magic that is glorious yet restrained, totally gripping and impeccable.

The only flaw on the record comes in the form of 'Pagalpan'. Driven from Sindhi folk, it is just chaotic due to its electronica-like treatment that just makes the tune more Bollywood-esque than anything else. The music just doesn't work on this.

Journey

Journey began where Saagar left off. The main distinction came in two forms: the singer that was replaced and the music that is a lot more crunchier. On its own, Journey is a decent debut record. I say debut because it is the first time Shallum, Emu and Rameez have worked together on a full-fledged album and the equation between them has just begun.

Songs like 'Ab Hum Kahan Hain', 'Choo Le' and 'Pari' are made for concert tunes. Shallum's tryst with guitars is never too outlandish. He pulls everything between a Salman Ahmed to The Edge (U2) and makes it work while Emu proves his prowess as a keyboardist who can play magically and yet restrain himself.

There are gems of ballads that are equally entertaining as they are beautiful. 'Suna Suna' and 'Neend Na Aaye' are the two examples and it isn't just the somber music that does the trick. Rameez Mukhtar emotes as a singer and stretches the songs in the right directions, hitting all the right notes along the way.

'Joo Dil Ne Kaha' which is perhaps the moodiest tune on the record with its sharp instrumentation, crisp sound and haunting vocals is beautiful.

But like most albums, the flaws here are glaring. 'Atish O Aab' is an extremely weak melody that is downright forgettable while 'Teri Yaadan' and 'Dholna' are plagued with weak vocals.

The verdict

Comparisons are inevitable. Tabeer and Journey have once again called for them. Between the two albums, it is Tabeer that holds more power, not just because of Shafqat's vocals but the music that is daring, different and experimental.

Tabeer uses verses from Tufail Niazi, late Zahida Parveen, Amir Khusro, and qawwalis like 'Dum Ali Ali Dum' but it keeps the traditional rustic feel alive while creating a juggernaut of sound that not only distances itself from a mighty album like Saagar but takes a step forward.

Tabeer is soulful, yet musically it is challenging. On the first hear, one might inadvertently mistake it as a Bollywood like album. But listen closely. The majestic orchestration is neither as chaotic nor is it too convoluted like most Bollywood music.

In comparison to Saagar, many have said it pales. But that is hardly true. The real truth is that Saagar was a phenomenal debut that made for easy listening with its simple yet beautiful sound. Tabeer dares to experiment. It is more complex and intricate.

And it is here where Journey falters. Not that it isn't a decent record. But the experimentation on Journey comes in the shape of more loud songs, which might work at shows. But in the long run, it won't have the kind of hypnotic effect that Tabeer holds.

Journey picks up on the Saagar format of music but doesn't recreate the sounds on the same scale.

The genius of Saagar and its compounded effect

For the original Fuzon, Saagar was a groundbreaking record that catapulted the three men behind the album to instant fame, recognition, commercial success and even critical acclaim.

It was one of the few records that managed to make every song stand out. Be it the beautiful 'Khamaj', the playful 'Deewanay' or the subtle 'Tera Bina'.

'Ankhon Kay Saagar', Fuzon's first video wasn't exactly one of their finest. It was just a platform for the men to perform and they did just that. And it worked like a charm.

Fuzon became so popular that they managed to make videos with coveted music video directors like Saqib Malik ('Khamaj', 'Deewanay') and Jami ('Ankhian').

Saagar wasn't just another album. It was a record that created three stars. Shafqat Amanat Ali Khan became one of the most talked about singers. Meanwhile veterans like Shallum Xavier and Emu, who had been around in the music industry for a decade, finally tasted commercial success. For the first time, the spotlight was on all three men and they became a part of the pop juggernaut.

But after just one record, Shafqat Amanat Ali Khan, Shallum Xavier and Emu separated. And that not only sent shockwaves throughout the industry but it changed the stakes for all three men.

A rewind…

With Saagar's release in India, Shafqat's vocals became famous. So much so that Shankar Mahadevan (of Shankar-Ehsan-Loy fame) tracked Shafqat down and offered him a playback singing number which turned out to be Karan Johar's magnum opus, star-studded Kabhie Alvida Naa Kehna that featured among others Shah Rukh Khan. This was in 2006. Soon after, things started taking a sour turn for the band.

A rift of sorts began within the band. When three men start thinking differently, a clash becomes inevitable. And that is what had happened.

Before the band officially called it off, the long delayed second album was in shambles. Each had his reason.

Shallum Xavier attributed the delayed sophomore album to sour record label deals. Without a solid record deal, Fuzon wasn't going to release its record.

Emu blamed it on bad record label deal and Shafqat. He claimed that Fuzon's manager Sen Management (Erum, Nazia and Sania Saeed) caused the rift. Sen Management, in Emu's words, was managing Shafqat more.

Back then, Shafqat didn't bring up breaking up or any problems within the band. His take was that an album deal was in the pipeline. But with three different opinions, the break up was inevitable.

And when the band broke up, Instep (along with the entire media brigade) received a press release that introduced Rameez Mukhtar as the new vocalist. The press release didn't even mention Shafqat or his reason for a departure.

It was a bitter break up of an incredible band that together made an album that remains one of the finest ever done in this country.

The new game

After going solo, Shafqat's career picked up even more. After making it big with 'Mitwa' off Kabhie Alvida Naa Kehna (2006), Shafqat's worth within Pakistan and abroad only increased. After all, the song was featured on Shah Rukh Khan. While working on Tabeer, Shafqat also struck gold in Bollywood. He sang on KANK, then Dor and recently on the Salman Khan starrer Hello. Among other projects is Nagesh Kukunoor's John Abraham starrer Aashaeyin. He is also in talks with AR Rahman. Shafqat is also planning another album, after the promotion of Tabeer is over, with Rohail Hyatt and that album, he says, will feature songs that he wrote for Fuzon back when he was in the band.

Recently Shafqat also sang on the soundtrack of the Pakistani film Ramchand Pakistani.

Debajyoti Mishra (Raincoat fame), the music director of the film, specially asked for Shafqat for this project to director Mehreen Jabbar. And not surprisingly, the film's music has won rave reviews universally.

Tabeer has just released but the response has been solid, according to Shafqat. When this article goes in print, Shafqat will be off to India for a series of concerts.

In comparison, the new Fuzon's career graph is not looking so bright. The band made the blunder of making 'Neend Na Aaye' their first lead single off Journey. 'Neend Na Aaye' had already been heard as the old Fuzon's tune and had leaked over the Internet in Shafqat's voice. As opposed to releasing a brand new tune, the band released 'Neend Na Aaye' as their own tune, with Rameez replacing Shafqat. And while it may be their best single, it always reminds one of Shafqat.

The new Fuzon released videos and even toured India. But with other acts like Ali Azmat, Zeb and Haniya, Azal, Rahat Fateh Ali Khan and Strings - all out with fantastic new albums, Fuzon's worth in the market has diminished. The new Fuzon just hasn't been able to make a big splash, the kind one first witnessed when Saagar had happened.

In the end

Tabeer may not become the next Saagar but then again, how could it possibly be? Fuzon was three men, with hugely diverse music influences coming together. And Tabeer is just Shafqat. But for Shafqat, it is still a pretty effective record. The sales are up and Shafqat is making all the right moves. He has struck a fabulous deal in India where Tabeer is being promoted all over the place. And for him, it is just the beginning.

On the other hand, Journey hasn't created the same effect for Fuzon. Rameez Mukhtar has just entered the spotlight and he is trying to fill in the shoes of Shafqat, which is certainly not easy.
This round has been won by Shafqat. It remains to be seen where Fuzon go from here but for them to last, the shadow of old Fuzon has to be replaced. Unfortunately Journey hasn't done that.

What if?

One can't help but ask what if original Fuzon hadn't separated?

Shafqat's popularity rose while he was with Fuzon. He had solo offers that he pursued and that created resentment within the band. There were obvious problems of miscommunication and misunderstanding between Shallum, Emu and Shafqat.

But what if… they had worked through those differences?

Between the three of them was Saagar and with three schools of music coming together, it was one hell of an album. It was magic just like Talaash and Azadi were for Junoon and Hum Tum was for the Vital Signs. Our bet is that had the original line-up survived together, they could've created a melting pot of Tabeer and Journey. Just imagine that! And now we'll never know...

LINK: INSTEP Magzine

The second coming of Shafqat Amanat Ali Khan

The man who blazed his way through Pakistani pop with Saagar is back with a new album, Tabeer. From classical novelty to phenomenon, Shafqat has made his mark. In this interview Shafqat speaks on finally making the leap as a solo singer, the important of infrastructure for the music industry, making it big in Bollywood and a lot more…

By Maheen Sabeeh

It was in 2002 when Shafqat Amanat Ali Khan escalated to unprecedented success with his then-band Fuzon and the beautiful album Saagar.

Fast forward to 2008 and it sees the return of the majestic singer once again. But this time, it's his solo album, Tabeer, and Shafqat is calling all the shots.

As we meet for an interview at the Arts Council in Karachi - where Shafqat has been rehearsing with his live band before flying off to India - it's clear that he is a busy man.

Shafqat sits down with me, just chatting about the humid weather, only to be called back and throws an apologetic look before taking one final stab at a tune.

Even though the gap between Tabeer and Saagar is of a few years, Shafqat has managed to stay in the spotlight. Singing for Karan Johar's magnum opus Kabhie Alvida Naa Kehna in 2006 put Shafqat firmly on the Indian map. And since then it has been an upward spiral for him.

This really is the second coming of Shafqat Amanat Ali Khan and for him it is a lifelong dream that has come true on his own terms and in its own time.

In this interview with Instep, Shafqat reveals the feeling behind Tabeer, the importance of Bollywood, the India-Pakistan difference and why digital music is the order of the day…

Instep: This is your first album in over five years. And this time, you're a solo artist and there is no Fuzon. Saagar was a smash hit, critically and commercially. Tabeer has a lot of expectations behind it. How are you feeling? Nervous?

Shafqat Amanat Ali: Whenever I work on an album, I'm least bothered about its success. I don't think about whether it'll be a hit or otherwise.

My major concern is that people should like it and they should respect my work. My concern is not to get popular. I don't want to be only popular. I also want my work to be respected.

Instep: How did Tabeer happen?

SAA: It wasn't even my idea. It was in fact Music Today (Indian record label). Our initial briefings led me to believe that they were looking for a Sufi album.

I realized at that time that the Sufi music one hears of from India is not original. I told them that you think that if you mix guitars with tabla, its Sufi music. However, Sufi music is made of kalaam. Baba Bullay Shah, Baba Farid, Shah Hussain and Amir Khusro wrote kalaams. We pick up their kalaams and compose it in a very traditional way. That is original Sufi music. When I discussed this with Music Today, they were very excited.

They asked me to make something but I declined. I asked that we first sign a contract and get the legal procedures taken care of. When we were done with everything, I made them a demo and they liked it. The work on the album began. Somewhere down the line, the music started becoming very mellow but we still wanted it to be Sufi so we added folk to it.

Tabeer started out as a Sufi but as we progressed it wasn't completely Sufi. It has folk as well as fusion. It's a variety of genres.

Instep: You were also supposed to work on an album with Rohail Hyatt. What happened to that?

SAA: Both Tabeer and another album were being done with Rohail Hyatt. Once I'm done with the promotion of Tabeer, then I'll work with Rohail on another album that I had composed back in Fuzon days.

As for Tabeer, he was onboard but then Coke Studio happened. He got busy with that and he said Shafqat, I won't be able to do this.

Instep: Despite album releases from big guns of the music industry like Ali Azmat, Strings, Atif Aslam and Jal, there are hardly any music shows. Musicians tend to appear more on television and those shows are often on DAT (digital audio tape)…

SAA: There are many reasons. Firstly, it's the security situation. If someone invests in a concert and a bomb blast happens and 100 people die, then what? I'm not saying that concerts are a target but the fear is everywhere. No one will invest in such a scenario.

Secondly, people are financially and economically very weak. People who are facing problems in paying electricity bills and feeding their families, they don't have 1000 rupees to spend on a concert ticket. You can listen to songs in your car or on the radio and in your house anytime. Concerts have gate crashers and security problems.

Thirdly, TV channels don't pay the artists. They say that we are recording but they are selling their time. They are getting ads and are paid for it. If artists are not being paid, they won't live shows for free on air.

Instep: You escalated to fame in India with Kabhie Alvida Naa Kehna's 'Mitwa'. How did that come about?

SAA: It was very simple. The very first time I spoke to Shankar (Mahadevan), it was on the phone since he was leaving for USA and he couldn't come and a journalist was also there. He said to me, 'Shafqat, I'm a huge fan'. We exchanged a few words.

He heard Saagar on the radio and asked around about me. Then one day Ehsaan called me. They were in Goa and said that they wanted to do a song with me.

I had gotten offers to sing for Indian films prior to KANK but either I refused or would ask an amount that producers wouldn't agree to.

When Ehsan called I said I'll do it without knowing whether it's a film or their own album. It was then that I found out about KANK. They told me that someone from Dharma Productions would call. Anyway, then Karan Johar called and said: "I'm a great fan and I listen to your album in my car and I love it. And I want you to come and sing a song for us". And that was that.

Instep: Is Bollywood a necessary evil for Pakistani musicians to survive in the Indian market?

SAA: I'm not sure about others but it's different in my case. I've never let them (Indians) walk all over me. I've never done anything that's not up to the mark. If I think it's not respectful I don't do it. I had five offers earlier and I refused them. They were not big banners and they didn't have anything to offer me.

Even for KANK, when I heard its Dharma Productions and Shah Rukh Khan's name, I didn't change my price. I charge what I charge. I will fly business class, I will stay three days and I'll stay at the Marriott.
The point is that if you don't lose your identity and keep a certain self esteem, I don't think anyone can cheat you or do any wrong. India is a very big market no doubt but we can't rely on it 100 percent. We have our own viewer ship here in Pakistan. If we get famous from here, people will respect us abroad. Tomorrow if they stop giving me work, what will I do? They don't owe me anything. When their own singers have stopped working in Indian films, then who are we? And it's not like I'm a very big singer that without me their industry won't work. Today they picked my song 'Mitwa' and made it a hit. Tomorrow they'll use someone else's song and that'll become a hit. So whatever work you do in India, you should do it while protecting your self respect and ego.

NEW DELHI: Pakistani singer Shafqat Amanat Ali, who chose the capital for the release of his debut solo album, says he is overwhelmed with the appreciation he receives from Indian audiences.

Ali, who is the voice behind chartbusters like 'Mitwa' in Karan Johar's 'Kabhi Alvida Na Kehna' and 'Yeh Honsla' in Nagesh Kukoonor's 'Dor', selected New Delhi to release his album 'Tabeer' which he had composed himself. "I was not expecting such a great response from the audience here.

I am really thankful to them for the kind of love and affection they showed towards me," the former lead vocalist of popular Pakistani music band 'Fuzon' told PTI after a recital in the capital recently.

About his India experience, Shafqat says, "I do not feel that I am in another country. It is like I have shifted to a new town. Everything is so similar between India and Pakistan." Ali is the son of legendary Pakistani singer Ustad Amanat Ali Khan and belongs to the seven-generation old 'Patiala Gharana.'

"In Tabeer, which literally means realization of a dream, I experimented with the contemporary way of music, a mix of earthy and traditional tones, to give music lovers something fresh," he says. Shafqat rubbished the notion that Indian singers are afraid of crossing the border.

PTI

Shafqat Amanat Ali is perhaps the biggest singing sensation to hit the subcontinent. Son of the legendary Pakistani singer Ustad Amanat Ali Khan of Pakistan, he belongs to the nine generation old Patiala Gharana.

Shafqat's voice represents a unique blend of classical gayaki and contemporary panache. The soul in his powerful voice has the rare ability, which can carry the listener to the peaks of ecstasy and the depths of pain within moments – the Rockstar Ustad (A term coined by Bollywood music director Salim Merchant) in conversation with Radioandmusic.com's Chirag Sutar on his new solo album 'Tabeer'

What does 'Tabeer' mean?

Tabeer means 'fulfillment of dreams', with this my dreams of making my own album with some soulful music comes true! (Laughs)

When did you start working on Tabeer?

For the album, I was approached by Music Today and they wanted the songs to have some Sufi elements in it, they heard some of my demos and liked the idea. It took around eight months for us to work on the concept; however, the recording of the album was over in two months. I recorded the album in Pakistan, Tabeer is already out here.

What genre does this album fall under?

I won't classify this album in any particular genre; it's for everybody – its soulful music with some Sufi elements.

But real Sufi music is different from that what we hear…

What we hear is not real Sufi music, if one wants to hear Sufi in its original form, they should hear it at the Mazhaars, it includes Shayaari's and use of certain instruments' like the Harmonium, Tabla, Ek- Tara and Matka – that's the real Sufi sound.

The songs in Tabeer are influenced by many yesteryear maestros'…

Well, I won ' t say they are 'influenced', as I have made some variations. The first song Khairheyan de naal is originally by Tufail Niazi – I am a great fan of his, I borrowed the line Khairheyan de naal from the song and wrote and composed the rest. Kartal naina, the second was something that I wrote, whereas Rohi is a very old Kaafi sung by famous Pakistani Sufi singer Zaahida Parveen. I made few changes in it and gave it a contemporary sound.

Talking about your previous band, what was the reason behind quitting 'Fuzon'?

I was comfortable singing with the band initially, but after I started getting offers from bollywood ('Mitwa' and others), the band started feeling insecure, and I would feel this whenever we performed. There was bad energy on stage – finally, I decided to quit.

But, listeners tend to compare the sound, have you made any changes?

There are something's that I have done purposely in this album – like the sound. I didn't want the sound to clash with the songs that I had previously sung. I have used different arrangement which gives this album a new feel.

How do you plan to promote this album?

I would be doing stage shows in metropolitan cities. Besides that we'll also have it digitally available on i-tunes.

In this album, you are the singer as well as the composer, how do you prefer to do composing?

Well, if I am at home I simply take the Harmonium and compose on it. Otherwise, if I am travelling, I record the tune on my I-Pod and work on it later.

How has the experience of working with some of the ace music directors been so far? Any upcoming movies?

Shankar- Ehsaan- Loy, Salim Merchant and Sajid Wajid are great t to work with. They are open and give the singer scope to improvise. Recently, I did playback for Hello and Zindagi Tere Naam which has the duet Trishna Trishna with Sunidhi Chauhan.

Source: radioandmusic.com

Download Shafqat Amanat Ali - Tabeer [2008-MP3-VBR-320Kbps] High Quality MP3 Songs Musik Pakistan Exclusive

Album: Tabeer
Artist: Shafqat Amanat Ali
Genre: Pop
Year: 2008
Label: Fire Records(PAK)/Music Today(IND)

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TRACKLIST:
01. Tabeer - Khairheyan De Naal
02. Tabeer - Naina
03. Tabeer - Dum Ali Ali Dum
04. Tabeer - Rang Le
05. Tabeer - Bulleh Shah
06. Tabeer - Pagalpan
07. Tabeer - Rohi
08. Tabeer - Kartar (Darbari)
09. Tabeer - Manqabat (Ya Ali)

Total Duration: <00:37:53:64>

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Watch & Download Exclusive Video Shafqat Amanat Ali's Khaireyan De Naal

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Album : Hello

Director : Atul Agnihotri
Producer : Atul Agnihotri
Music Director: Salim Merchant, Sulaiman Merchant, Sajid-Wajid
Cast : Isha Koppikar, Gul Panag, Dilip Tahil, Suresh Menon, Sharat Saxena, Sohail Khan,
Lyrics : Jalees Sherwani
Released Date : September 2008

Right Click on the Link and select “Save Target As” to download song

Caravan - Shafqat Amanat Ali Khan

Shafqat sings with Fuzon for the national anthem!

Geo TV's taping of Pakistan's national anthem, which is being touted as the revival of the national anthem – was held on August 5 with a large number of singers in attendance. While the recording brought together stars from all musical genres ranging from Ustad Hamid Ali Khan to Shahida Mini, it also united the split up members of Fuzon.

Shafqat Amanat Ali and his ex-band mates from Fuzon, Shallum and Immu, were all together on the same stage to perform the anthem. One would have expected fireworks, but both Shallum and Shafqat came across as being cordial and happy about working together with each other. "It feels great to come together with Shafqat again, he's a great guy and accomplished singer." said Shallum.

On being asked if they plan to work together again, Shallum said "We might do a project together in the next few months, and we're looking forward to it."

Shafqat, on being asked about his feelings about working with Fuzon diplomatically stated, "I'm a singer and an artist and I want to work with everyone." Stay tuned for news of if this project does make it to the light of day!

link: The News International - No. 1 English Newspaper from Pakistan

Shafqat Amanat Ali - OST Khamoshiyan - Hum Tv

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The big five

From bluesy, pop debuts to rock galore, the second half of 2008 is promising to be an even bigger bang. As the newcomers and giants of the music industry gear up for album releases, Instep gives you the five albums to watch out for this year!

By Maheen Sabeeh

Artist: Ali Azmat
Album: Klashinfolk
Release: September 2008

If the first half of 2008 was made excited by Strings and their return with Koi Aanay Wala Hai, the second half belongs to Ali Azmat.

In 2005 he stunned some of the harshest critics of Junoon with his solo record, Social Circus.

But if Social Circus was about introversion, Klashinfolk is about extroverted side of life.

Recorded at Mekaal Hasan's Digital Infidelity studio, the album sees Ali Azmat don the role of producer, singer and songwriter for a second time.

Composition credits belong to Ali while he has jolted some of the lyrics himself with a few others with noted lyricist Sabir Zafar.

As for the sound, it really is a 360 degree turn for Ali. Having heard a few ditties such as 'Sawaal', 'Gallan' and 'Balaman', it is clear that the electronic wizardry, one first heard on Social Circus, has disappeared altogether.

And this time Ali Azmat has attempted an edgier and raw sound.

The influences range from Steely Dan to Coldplay and Radiohead among many others.

"I call it urban folk music," explained Ali Azmat while speaking on his hotly-anticipated new album. "The name Klashinfolk is not just inspired from the gun culture we live in but the general chaos and the uncertainty that surrounds us," concluded Ali.

While one driving force behind Social Circus were the synthesized sounds, on Klashinfolk it is all about live music.

"We rehearsed and then played the album out and it took us three days to do it. It is a live album and nothing like Social Circus," clarified Ali about the sound.

Another interesting development on Klashinfolk is the line-up it includes. Other than Ali Azmat, the players on Klashinfolk include Omran Shafique on guitars, Kamran Zafar aka Manu on bass guitars and lord of drums himself Gumby.

With two videos, one with Zeeshan Parwez and another shot in India, Ali is looking at September as his release. And we can bet, Klashinfolk will be as unpredictable a record as the man behind it.

Artist: Shafqat Amanat Ali Khan
Album: Untitled
Release: September 2008

The last time we heard Shafqat, he was singing the tunes of Ramchand Pakistani and proving yet again that when it comes to vocal magic, he is unbeatable.

Post-Fuzon, there have been a number of stories about what Shafqat will be doing. So for the record, the big man with the bigger voice is not doing an album with Rohail Hyatt and neither is he planning on releasing a Sufi album.

Shafqat is picking up from where Fuzon left off. But he promises that it won't be another Saagar. It'll be different and hopefully better.

In between offers from Bollywood, Shafqat has been wrapping up his solo album and he will wear the hat of singer, lyricist and songwriter on the album.
"I haven't decided on a name yet but I am definitely looking to release my album in September 2008," Shafqat confirmed to Instep.

Even though the album is being backed by an Indian record label, Shafqat is still working with musicians from this side of the border, to make sure that the signature Bollywood sound doesn't creep in from the side.

Shafqat has revealed that even though most of the album will be sequenced, the live sound has contributions from Imran Akhund, famous for collaborations with Shehzad Roy, plays the guitars while Sajid is on flute and Shani takes on the role of the producer.

"I was planning a Sufic album but as I went along, I realized that it was something else so I won't call it a Sufi album," explained Shafqat.

As for the sound, it'll tip towards the softer, mellow side with concentration on melodies.

Here's one solo effort that'll definitely be something. With Shafqat's classical background and understanding of the reach of pop, this record will be one hell of a listen!

Artist: Kaavish
Album: Gunkali
Release: 2008

The three youngsters from Kaavish, Jaffer Zaidi, Maaz Maudood and Raheel, first shot to the limelight with their beautiful single, 'Bachpan' and since then there has been no looking back for this trio.

Now in 2008 we will finally see Kaavish release their debut record, Gunkali. For those unaware of the meaning of their title, it refers to a morning raag, which Kaavish interpret as a beginning for them. Their name Kaavish meanwhile means struggle.

Yes, these boys have struggled but they haven't compromised on their songs.

Teaming up with music producer and engineer Faisal Rafi - who co-produced Rahat Fateh Ali Khan's Charkha and played engineer to some tunes on Strings's Koi Aanay Wala Hai - Kaavish have aimed for complete live instrumentation on their album.

While front man Jaffer Zaidi dons the role of composer, Maaz, Daniel alongside Jaffer and various others including Nayyara Noor (Jaffer's mother) and Anwar Maqsood have penned the lyrics.

As for the music, it's definitely different. Having heard the rough cut of this album, it has to be said that Gunkali is for 2008 what Fuzon's Saagar was for 2003, a purely delightful melodic record.

Kaavish have even re-done their released singles, 'Bachpan', 'Choti Khushiyan' and 'Tere Pyar Mein' to make sure that these tunes get the right treatment under the watchful eyes of their producer Faisal Rafi.
Some of the biggest names from the music industry have played on this album. They include drummer Gumby, guitarists Omran Shafique, Aamir Zaki, Abbas Premjee, Shallum Xavier as well as the band itself.

One interesting bit about this album is the concentration on soft, slower melodies and the focus on piano, an instrument that somehow gets neglected in our music scene.

Heartbreaking, melancholic and truly beautiful, we bet Gunkali will be one of the best albums you'll hear… ever.

Artist: Zeb Bangash and Haniya Aslam
Album: Chup
Release: July 2008

As far as female voices go in the mainstream music scene of Pakistan, we're sorely lacking behind the world.

Not since Nazia Hassan and Hadiqa Kiyani have we been so excited by two female musicians. And they are Zeb Bangash and Haniya Aslam, the two girls who first made buzz with their single, 'Chup'.

With a couple of shows behind them, industry insiders are already impressed by this duo and they include the likes of Rohail Hyatt, Shahi Hasan, Zeeshan Parwez as well as countless others.

Between the two of them, they can channel voices that touch other singing prodigies like Tina Sani, Janis Joplin, Sarah Mclachlan and Lene Marlin.

"Our songs are about universal emotions such as longing, love, desire and loss," explained Haniya while speaking on their upcoming album.

Chup not only sees the debut of Zeb and Haniya but unites them with Mekaal Hasan who has produced the album. Other artistes involved in this album include Gumby, Shallum Xavier, Kamran Zaffar, Co-VEN men Hamza Jaffri, Sameer Ahmed and Sikander Mufti as well as Mauj man Omran Shafique.

What separates this album from a plethora of other is its bluesy feel. Most of the songs on this record, have, after all been composed on the acoustic guitar.

"It has a varied flavour and mixed genres. From Eastern and folksy songs to even Bollywood, the inspiration is drawn from a number of musical styles," Haniya stated explaining the sound.

So inspired by their music that Saqib Malik has taken the task of directing their first video, for the single, 'Aitebaar'.

Their tunes, 'Chup' and 'Chal Diye' that have been available for download from their website has further increased interest in these girls.

By the time this article goes in print, Zeb and Haniya's Chup should be out in markets. So grab a copy now!

Artist: Mauj
Album: Mauj
Release: 2008

Its funk, its punk, its groovy… it's Mauj.

Even though Mauj have been around for a few years now, their self-titled debut record hasn't been able to see daylight… until now.

With a record deal in hand and a video (set to be directed by Zeeshan Parwez) in the pipeline, the band spearheaded by Omran Shafique is all set to release their album later this year.

With tunes like 'Khushfehmi' and 'Paheliyan' and gigs all around town, Mauj have managed to do what few others can: establish a loyal listenership and win critics over.

Omran Shafique remains the band's most credible asset who shares lyrical responsibilities with Mohsin Atif and dominates the songwriting aspect of the album all by himself.

Having heard their singles like 'Mona', 'Baat Barti Gayi' and 'Awaaz', it is clear that this is not a one-hit or even two-hit wonder band.

With solid compositions, rock and funk galore, Mauj are hugely different from the other rock acts. Their songs have the kind of punk fun that reminds one of British acts like The Libertines and The Kills. The words can be sarcastic at times, solemn and introspective at other times, just like the tunes.

Their live shows - with Omran Shafique on vocals/guitars, Sikander Mufti on drums, Hamza Jaffri on rhythm guitars and Sameer Ahmed on bass - are fiery and with their record coming out, these shows will become even more exciting.

Mauj don't make kill-yourself-depressing music, but even so they attempt the more restrained and complex of emotions as far as songwriting goes. It is this treatment of each song that sets them apart and this is exactly why we think that their debut will be one album to watch out for.

Link: INSTEP Magzine