Two albums of the same genre,
released within a short span of each other prove that in today's competitive
music scenario quality is important and so is marketing
By Mohammad A Qayyum
Ahmed Jahanzeb
Parastish **1/2
Parastish, Ahmed Jehanzeb's
long awaited debut album is an album haunted by the success of his debut hit
song 'Aik Baar Kaho'. While curiously, the mega hit song does not find its
way onto this album - a fatal mistake to not include it here - almost the whole
album lyrically mines the same vein as 'Aik Baar Kaho' and musically fumbles
around for the same formula of a lovelorn hit. Yet instead of finding gold one
has to make do with a host of lesser songs and several plainly bad songs. 'Tu Jo Naheen', a good song, and
the latest single 'Kaho Ek
Din' are the best of what is on offer here. Beyond these two songs,
unfortunately Parastish is one of the more
disappointing albums in recent memory.
One had such high expectations from 'Wonder boy'
(as he was, his liner notes tastelessly announce,
apparently titled by the media). He certainly has the vocal ability to sing
memorable songs, but unfortunately most of the material he comes up with on Parastish is sub-par and the performances similarly seem to
have flat-lined.
For all its 14 tracks, the main problem with the
album is that pretty much all of it is a lovelorn mess. Being lovelorn in itself is not that bad a thing (after all it is the standard
state of affairs in most Urdu songs) but one has more of a problem with the
mess part. Most of Urdu poetry despite being similar is at least more inspired.
Here a lot of what is sung is insipid: trite lines like 'Kaho
Ek Din,' (Kaho Ek Din), 'Mujhey Pyaar Chahiyae' (Mujhe Pyaar) and ... as so
worn-out that not even 'Wonder boy' can sing them to life. And this is the case
with the relatively better songs.
There are other lesser songs on Parastish
(the hyperbole of the title in itself should have been a warning indicator)
which turn unintentionally hilarious due to excessive melodrama or just simply
because they do not work as intended. 'Joray' is a
prime example of this: one cannot see anyone singing 'Joray
Bantay Hain/ Joray Bantay Hain/
Aasmanon Main' with a straight face. What possibly
started off with an earnest paean to monogamy and matrimony with each
repetition just sounds plain bad or alternately hilarious.
This only goes to accentuate the bad lyrics to the album.
For the lyrics to Parastish
AJ mostly stays close to home, either supplying the lyrics himself or using the
words of his own father. Generally, parents writing lyrics is
a bad idea. Anwar Maqsood
is uneven for Strings and though Hadiqa's mother Khawar is a bit better, she is the exception that proves
the rule. On Parastish Captain Safeer
Ahmad or Dad, as he is repeatedly credited on the album sleeve, is not up to
the mark. This is particularly evident when his work is put up on the same
album along with lyrics by Ahmad Faraz and other more
accomplished writers.
The lyrics fail in the choice of subject (love,
mostly of the lost kind) as much as they fail in their actual treatment of the
same. Essentially and lyrically this is a whiny album, sort of the same way Aaroh's album Sawal is whiny and
suffers due to having 12 songs that sound more or less the same. AJ goes a tad
further with 14 similarly-mooded songs which say the
same thing, badly: By the end of the album the trite nature of what AJ sings
places us firmly on the side of the girl who seems to have done poor AJ wrong.
One can understand why she upped and left AJ.
AJ, in the liner notes, claims that his family are his greatest critics. If that is so, then one
must say, they need to be a bit discerning and more
critical. Nowhere is the failure of quality control more evident than on 'Daal Main Kala', a faux bhangra number, which rates amongst one of the worst songs
on the album or even of the genre. With this song AJ seems to be aiming
somewhere lower than Waris Baig
or your local bhangra artist. The aim, it seems, was
to produce a song fit for Bollywood or worse yet a Lollywood movie. One can half imagine Rishi
Kapoor or Momi Rana singing it in a B-grade flop. That in itself is a
sight set too low.
Initially one thought that AJ was an awesome
singer. He probably still is and his Ustaad, Raees Khan Sahib indeed deserves kudos on that count, but
most of this album with its monotony does him a great disservice. Even 'Woh Mili Jab Se', that was
supposed to be the up number on this album, suffers. The song, as apparently
the lyrics indicate, was supposed to be sung as the celebration of being with
one's beloved. The lyrics are 'Woh mili jab se/ Duniya badli jab se.' Yet AJ sings it in a monotone and with a
lack of joy that makes him come across as a bit of a one-note wonder. In mostly
wanting to be Pankhaj Udas,
AJ just ends up being plain sad, in all senses of the word.
On other instances AJ aims to ape A. R. Rehman. He does manage to nail down the excellent backing
vocals and harmonies of AR quite creditably. But the production values or the
spark of the master across the border is missing. Shuja
Haider and Wiqar Haider, great producers with Haroon,
are not on top of their game here. A serious faux pas they make is to put the
vocals of AJ way upfront in the mix. Notwithstanding that the boy is quite a
good singer, such treatment accentuates all the flaws in his singing and makes
them a bit too noticeable. Compare this with the way canny production makes a
lesser singer like Abbas Ali Khan sound better and
one is quick to note that the Haider brothers did not
do all that well. AJ may have the potential to be a great singer but he is
certainly no Mehdi Hassan
(as yet) or is in the class of any of the other truly great ghazal
singers whose unadorned voices can charm the listeners to no end.
For a few songs AJ tries to be Haroon
as well. 'Intezar' sounds more like a Haroon reject, a distant and lesser cousin of Haroon's 'Goriyae' with a touch
of backing vocals from 'Yaara'. Where Haroon is energetic, AJ is lackadaisical and makes one
appreciate Haroon all the more.
By the end of the album it is clear that AJ already
with his first album is stuck in a rut. For all its merits, is 'Aik Bar Kaho' a song to make a
career out of ? Even Ali Noor
after 'Manwa Re' dared not repeat the same and went
on to do better things despite much demand for more of the same. AJ wants to
continue being a Majnun. Therein lies
a much broader problem of image and focus. If you found the video to 'Kaho Ek Din' too effeminate, then
you will certainly be staggered by the pictures on the inside sleeve of the
album. The posy picture on the order form is one of the worst pictures one has
seen in ages. Dyray Communications and Abid Nasa
get quite low marks for their work here. AJ needs to show us more aspects of
his personality, not just the pouty posey ones.
Despite all of the above, such is the nature of the
market that the album is already being wholeheartedly pushed by Indus Music. It
is a pity as the album is quite disappointing and is quite a massive betrayal
of talent.
Abbas Ali Khan Humsafar/Tum
Aa Jao***
In contrast one is pleasantly surprised when one
comes across Abbas Ali Khan's (Liaqut
Ali Khan's grandson) debut album Humsafar or, as it
has been recently retitled and re-released as, Tum Aa Jao. Here there is no attendant hype at all. The album
actually came out over a year ago and despite a good word of mouth buzz flopped
in the market due to horrible distribution. So Abbas
ended up terminating his contract with the first label and is re-releasing the
album through another label. Due to label restrictions he has had to change the
title of Humsafar, and by adding a new title song to
the album he re-released it under the name of 'Tum Aa Jao.'
The album in general is pretty much quite similar
to Parastish in lyrical substance but is different in
that it is a tad better and deals with more moods. It is either that or since
the level of expectation was not as high with Abbas
Ali Khan, one has been pleasantly surprised.
Notwithstanding, low expectations, this album has
one gem on it. 'Jaanay Kya Tha' is a masterwork of mellow laidback music. It has
striking similarities to Sting's 'When We Dance' and even its spectacular video
by Shehryar Hydri quite
significantly copies the Sting video's feel. But unlike most chappas this really does not take much away from the song.
The production is excellent and the song is pretty much perfectly put together.
The melody is unique in its laidback feel and this song alone makes the album
well worth the purchase.
The rest of the album is quite a nice one, even a
brave one. Abbas has tried his hand at various
styles. Some he manages to pull off, others he struggles with. 'Chori Chori', the rock number
demonstrates his limitations: when he tries to pep it up he is found lacking in
energy and expression. Having said that, the instrumentation
on 'Chori Chori' is still
quite spectacular. The guitars are steeped in jazz-rock and play well if
a tad without restraint. 'Tum Aa Jao' is one of the
better tracks, an atmospheric dance number. The vocals are still somewhat
listless but the driving music carries the songs along well enough. Otherwise,
there is a fair bit of filler to this album. Abbas,
in the end, even has to resort to an instrumental to fill up space.
Overall, the effort and presence of passion is
evident here and requires a listening and encouragement. The passion was somewhat
found lacking in Parastish. Humsafar
or Tum Aa
Jao as it is now called slightly edges out Ahmad Jehanzeb's debut in the mellow love-oriented stakes, if not
in column space and hype.