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MUSIC BOX: Hits and misses
Sajjad Ali’s latest offering, Best Of is a collection of his best numbers through the years. This collection illustrates his career as a pop singer from his first pop song Babia, which came out in 1993, to Cinderella, which was released last year.
It is a mixture of bhangra, pop, rap, slow and melodious songs and would suit every mood. It starts off with Teri Yaad which was originally sung by Noor Jehan. Sajjad, who claims to be Madam’s biggest fan, captivates the listeners with his vocal rendition. He proves his mettle in the next hip-hop number Cinderella. The song was overwhelmingly popular with listeners on both sides of the border and topped the charts because of its different tune.
Sajjad’s vocals are at their best on Layan Layan — a Punjabi song with a beautiful composition and enchanting lyrics. Three songs — Kharidaar, Sohni Lagdi and Larri Adda — from Sajjad’s Aik Aur Love Story are included here. In Kharidaar, Sajjad manages to recreate the R.D. Burman magic with flute and vocals, while the fast-paced Sohni Lagdi encourages listeners to dance. Larri Adda certainly needs no introduction, as it is, was and will remain a crowd puller everywhere. Sajjad’s vocals in all three songs are brilliant, while Yaad, the next melodious song, captivates you until the click on your player tells you that the side has ended.
The second side features evergreen songs including Mahiwal, Mehndi and Bulbul. These songs have been taken from his Chief Saab album, which saw Sajjad’s stature rise as a pop singer. Moody, the title track of Sajjad’s third offering as a pop singer, makes its presence felt with jolly lyrics and robust composition. Chal Jhooti falls in the same category as its predecessor, while the Didi inspired Babia has your feet tapping the floor unintentionally. In 1993 the song initially made it to TV as Pakistan’s first pop video. Last comes Paniyon Mein. The mystical lyrics add to the slow, melodic song with its lovely composition.
The collection misses Sajjad’s hits like Jadoo, Bolo Bolo and above all Chief Saab which helped him become Pakistan’s number one pop singer at the time. On the whole, the compilation is an excellent addition to your collection if you are an ardent Sajjad Ali fan. Otherwise, think again.—Omair Alavi
The surrealistic song book
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The overblown brilliance of progressive rock is really quite underrated. The genre is not easily digested and requires some sort of intellectual impulse to be present in the record buyer for him or her to understand its complexities.The group Yes formed in Birmingham, England in 1968 were one of the most talented and yet critically reviled of the whole genre. But what do music critics know? Take Highlights: The very best of Yes for a spin and decide for yourself if and how the expansive soundscapes of these master musicians added to the overflowing colours of the modern sonic palette.
I’ve seen all good people is a superb chess match played out in your mind. The mediaeval pipes, hearty strumming and Yes’ magnificent vocal harmonies converge and explode into a driving rocker which forms the second passage of the tune. Roundabout is an absolute stunner. Chris Squire’s thick, meaty bass patterns, Rick Wakeman’s swirling, flamboyant keyboards, Steve Howe’s guitar and Jon Anderson’s falsetto vocals combine forces for a fourth dimensional romp that sends one barrelling through distant atmospheres.
The double electric lead and pummelling bass line of Long Distance Runaround work together judiciously to bring forth yet another dreamscape of cold sunshine and abstracted airy mountains. Soon is a tender moment with ambient, treated guitars and silken, at times barely audible keyboard. With Wonderous Stories, Yes tell a fantastic tale through sparkling, crystalline guitar riffs and gentle percussion. Space-age keyboard coupled with luscious vocal harmonies make this one sound like it came straight from the annals of Camelot. Owner of a lonely heart was Yes’s biggest ‘hit.’ A definite departure from their traditional sound, perhaps the band was trying to channel new creative spirits (or was it Trevor Horn’s?), or they may have been responding to the needs of the times, as this one dates back to 1983. Nevertheless, the superb video was an able compliment to the driving tune, complete with its various keyboard flourishes and harder guitar sound.
Yes were brilliant musicians, but lacked the ferocious cerebral assault of Rush, the other powerhouse in the world of prog rock. Still, Yes have displayed remarkable longevity, and at the core of their unique sound are superb musical structures paired with carefree, at times nonsensical imagery. Another of the band’s trademarks was their exceptional cover art (sadly not displayed on this collection) courtesy of artist Roger Dean. This best of provides a thoroughly diverse collection that can serve as a preliminary chapter in the long, winding ‘Yesstory.’—QAM
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