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Pakistani Pop Music

Pakistan is blessed with talent and when we talk about Pakistani music, one can never stop recording one of the best Pakistani pop songs till date because there are many hits that no one can judge as the best from the past decades like “ Dil Dil”. Pakistan”, “Huwa Huwa”, “Mehndi ki Raat”, “Na Kaho”, “Dil Haray”, “Ankhain Milanay Walay”, “Wakt”, “Neeli Neeli Ankhain”, “Jaisay Chao Jeo”, “Garuj Burus” , “No More”, “Ankhoun ki Sagar”, “Na Tu Aigi”, “Addat” left the audience and many more. Our artists are popular all over the world. Many new talented artists in Pakistan are still working hard to be quality Pakistani create music.

We can easily judge Alamgir as a pioneer in the music industry whose first big hit was “DEKHA NA THA KABHI HUM NAY YEH SUMMA” and it remains the song with which he is still best identified, though later songs like “Yeh Shaam Aur Tera Naam’ and ‘Mein Ne Tumhare Gagar Se Kabhi Pani’ further expanded his composition. It must be said that Alamgir laid the foundation that countless others have used to break into the music industry. Not only did he sing well, but he was also a performer in the true sense of the word. There is no denying that Alamgir has contributed to the development of the pop music genre in Pakistan.

NAZIA HASSAN was the first to cross the forbidden Pakistan-India border to sing in the Indian film “Qurbani” which was “APP JAISA KOI”. Later, this song became a youth anthem in both India and Pakistan. And in the next, NAZIA, ZOHAIB and BIDDU (an Indian composer) came together to release “DISCO DEEWANE” which became the biggest pop album in Pakistan till then. The Hasan brothers released one more album in 1984, titled “Boom Boom”. This second collaboration with Biddu, the undisputed king of Indian film disco music, was also a huge hit. Their success marked a turning point in pop history.

Later, Vital Sign ventured onto Pakistani television screens with their guitars and a catchy, patriotic song called “Dil Dil Pakistan” in 1986. Their album was released in 1987 with gems like “Yeh Shaam” and the funky “Goray Rung Ka Zamana”.

Then came the Jupitars with their evergreen hits ‘Yaroun Yehi Dosti Hai’ followed by Hassan Jehangir’s ‘Hawa Hawa’ in 1990, ‘Sanwali Saloni’ from Vital Signs in 1991, ‘Sar Kiye Yeh Pahar ” in 1992 by Strings, Sajjad Ali. Didi’s ripoff of ‘Babia’ in 1993, Najam Shiraz’s ‘In Se Nain’ in 1995, Junoon’s ‘Saeein’ in 1996, or Awaz’s ‘Mr. Fraudiye” in 1997. Junoon with their World Cup hit ‘Jazaba-‘ e-Junoon Tou Himat na Har”. This is only to be expected in a growing industry.

Perhaps the biggest unexpected success of an experimental song, however, was Sajjad Ali’s streetwise 1995 hit, “Chief Saab.” Filled with Karachi slang and harsh imagery, “Chief Saab” perhaps signaled the coming era of pop music more than anything else. It showed that you don’t necessarily have to stay within pre-defined saccharine-sweet boundaries to be popular, and that people enjoy hearing about issues other than puppy love. Partly as a result of this expansion of the pop market, established musicians in non-pop genres, such as qawwali maestro Nusrat Fateh Ali Khan, were drawn to experiment within it. Nusrat Fateh Ali Khan has given many hits back to back and he has also given the music for Hollywood films and many Bollywood films.

The pop band that most successfully captured this idea was, of course, Junoon, who used their success with the haunting “Saeein” to transform themselves into a completely different kind of band. Here again we saw pop crossing folk and vice versa.

In 1994, FM radio brought about another mini-revolution in Pakistani music. From Landhi in Karachi to Krishan Nagar in Lahore, names like female singer Hadiqa Kiyani and youngster Shehzad Roy have suddenly become household names. Even iconoclastic hermit virtuosos like guitarist Amir Zaki (whose almost purely instrumental album Signature did well in the market) were given the kind of shows that ’80s big bands could only dream of.

The pop industry took a big turn when private channels like IM became a medium to showcase young talent in the pop industry like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal only Pakistani pop music they are crushed, but they have become known worldwide. The newcomers have made their presence felt through notable individual songs, though full albums have so far surpassed most new acts. Ahmad Jehanzaib’s Ek Bar Kaho, Fuzon’s Ankhon Ke Saagar and Schehzad Mughal’s Bas Yunheen were all excellent. The first two were carried by soulful, soulful vocals, and the last shone through the touching lyrics. Honorable mentions also go to Aks, the stunningly understated Neela Aasman, Noori’s jangle-pop perfection, Tum Hans Diyae, Junoon’s excellent Garaj Baras, Sajjad Ali with Teri Yaad, Aamir Zaki’s insightful and insightful People Are People EP, the Hum Codriving EP. Aazma, Najam is endlessly catchy!

Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar’s astonishing Chanoo ki Ankh, Jal’s gorgeous addat and yes, even Ali Haider’s stubborn yet memorably melodious Chandi Ratain. Abrar’s Preeto was the novelty of the year. The Pepsi Battle of the Bands did a great job of bringing in the wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others are credited to Pepsi. The Pepsi Battle of the Bands was a great showcase for these young bands.

Recently, a team of talented Pakistani musicians and artists made the long journey to Mumbai via Dubai to probably make history as it was the first time in recent times that Pakistanis had gone to India to score the soundtrack of a Bollywood film. The film in question was Pooja Bhatt’s Paap, and former Vital Sign Shehzad ‘Shahi’ Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio player and keyboard player Faiz Ali Naqvi were the quartet representing the world of Pakistani music in India.

Strings was a major hit with Dhaani. Arguably the hottest album of the year, Chaaye Chaaye is a standout favorite with its first single. String provided the soundtrack for Spiderman 2, a remarkable effort.

Junaid Jamshed’s Dil Ki Baat was understated but assured and despite JJ being quite public and tortured about religion and music, the album showed that JJ is still competent in middle of the road pop and Shoaib Mansoor still has the magic. Shahzad Roy’s Rab Jane has been hobbled by illness but still catches fire, while Karavan’s Gardish has taken off and sold like hotcakes. Schahzad Mughal’s Jhoom Lay was one of the most pleasant surprises of the year.

This proves that our music industry dared to move forward with hope rather than skepticism.

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