Fuzön is a Pakistani rock music group comprising three members. Fuzön is also spelled as Fuzon for the convenience of typing on standard keyboard. The name has been derived from fusion as the vocalist Shafqat Amanat Ali describes the band as a fusion of Pakistani classical music and modern rock music.
The Fuzon art insists on setting feelings above mere technique; and creating an individualistic genre of mold breaking music. Above everything else Fuzon is stylistically different. Born out of diverse western pop/rock and eastern classical influences, Fuzon started in 2001. The trio, consisting of studio sessionist Immu, Shallum and vocal exponent Shafqat, rediscovered its credentials as a serious cutting-edge band, fusing deeply meditative ragas with rock and jazz.
Fuzon encompasses hybrid styles of exquisite melodies and everlasting pop/rock instrumentation, hence carving out a special niche for the threesome. The three seasoned collaborators of the band consider their debut album as a labor of love as well as a message
Members
Imran Momina
Imran Momina (aka "Emu") is a multi-dimensional pianist and a composer, who has been playing since the age of 13. His flair for arranging his own music and experimenting with melodies made him set up his own recording and mixing studio — and is where Fuzon's recording sessions took place. Moving on from humble beginnings, Emu now has a top of the line audio and video unit which caters to the artistic as well as commercial requirements of the country's top musicians.
Technically proficient, self-tutored Fuzoneer, Imran has a universe of possibilities at his disposal. Imran aka 'Emu' is a charismatic keyboard exponent. Emu is a fine studio tactician whose feeling-based work has been making sweeping statements for over a decade.
Emu has an uncanny knack for orchestrating memorable music which is dominant in Fuzon's gilt-edged tracks. Emu's immaculate and unparalleled keyboard maneuvers on one hand impart a euphoric essence to the debut album 'Saagar', and on the other his artistry is what makes the band tick.
As a musician, Emu has composed and produced music albums for a number of leading artists including Ali Haider and Najam Shiraz.
Shallum Asher Xavier
Shallum is fortunate to have music running in his family. Having started to play the piano from the age of nine, he shifted tracks and began `worshipping' the guitar, by practicing for eight hours a day for three whole days. Playing for quite a few local pop acts has brought him to the limelight, and he is now getting recognition for his talent. Shallum, the guitar guru harbours the kind of passion that sets him apart from guitar gods pack. His six-string work encompasses tones in the direction of blues, rock, jazz, classical and everything in between. All his influences are focused towards creation of exhilarating, infectious but most of all moving slipstream music. Shallum is undoubtedly a studio artist of first water. His art on the debut album dazzles in sonic inventiveness.
Rameez Mukhtar
Rameez Mukhtar discovered the hidden vocalist within himself at a tender age of nine while singing along with the music maestro, Sohail Rana in shows entitled “Saaray Dost Hamaray” and “Sung Sung Chalein.” Since then, he had been vocalizing varied melodic scores of television serials and best-selling commercials. While thinking back upon the element responsible for kindling the singing passion in the lad, Rameez profoundly expresses the contribution of his siblings who only took singing as a hobby. However, Rameez managed to take it far under the mentorship of virtuoso Nisar Bazmi who made him learnt the intricacies and involutions of the classical music genre and helped him land as a vocalist for a band known as “Sanwal.” Along with the musical pursuit, Rameez continued his academics and has an MBA degree in the discipline of marketing from London to his credit. Besides performing the ballads and leading the marketing department of a certain music channel, Rameez loves spending time with his family. Being blessed with an enchanting voice and a persona imbued with enthusiasm, humility, and modesty, Rameez Mukhtar serves to be a perfect accompaniment to the duo.
The Band Call
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Call is a Pop Rock band formed by Danish J. Khan, Khurram J. Khan, Xulfi and Omer Pervaiz. The vocalist, Danish J. Khan left in 2001 and the band was disbanded. However, the band reformed in 2002 and after a few line-up changes, released their debut album, Jilawatan in late 2005.
Call was formed in 1994 by Xulfi, Omer Pervaiz, Khurram Jabbar Khan and Danish Jabbar Khan. They started out by providing background music for mime performances at NCA, Lahore under the name Undrap Nexus. Undrap Nexus' line-up was with Xulfi on the keyboard, Omer Pervaiz on the guitar and Danish Jabbar Khan on vocals. Soon, Xulfi and Danish Jabbar Khan, Khurram Jabbar Khan bought himself a drumkit and Call was officially formed. Call still needed a bassist and recruited Shahzad Hameed.
Call's musical inspirations included bands like Pink Floyd, Led Zeppelin and Iron Maiden.The band's first gig was in 1995. The site was decorated with flame torches and complimenting the band's music were live mime performances. Their setlist was composed of 10 original tracks, a rare thing for underground musicians to do back then. However, in 1996, the band's bassist, Shahzad Hameed left. After a while, the band's guitarist, Omer Pervaiz left as well in order to concentrate on his solo project, Naqsh. Xulfi and Khurram Jabbar Khan decided against disbanding the band and thus ended up recruiting Ahsan Fida Khan on guitars and Faisal Murtaza on bass.
Disbanding (2001)
On October 20, 2001, Danish Jabbar Khan, the band’s vocalist and lyricist, performed for the last time with the band at a rock festival on his birthday. Once the band’s primary lyricist and vocalist was gone, the members of the band got busy with other things. Khurram Jabbar Khan moved to the United States, Xulfi concentrated on his band Paradigm (which later became EP) while Ahsan and Faisal moved on to fulfill family obligations.
Revival (2002-2004)
In September 2002, Khurram Jabbar Khan, being a core member, returned from the United States to revive Call. Khurram and Xulfi got together and auditioned for new band members and decided that this would be an urdu project. They found Junaid’s voice to befitting for the band’s musical direction and recruited him as the band’s vocalist. Soon Sunny was chosen to be on lead guitar, Usman Nasir on rhythms and Sultan Raja (Xulfi’s student) on bass. Khurram joined in on drums.
The band’s first single, Nishaan was released through various Pakistani music websites and gained widespread fame. It went on to top the charts and also won the band its first award: Best Rock Song at the Band Baja Awards 2003. Indus Music made a live video of the song which was to be exclusively aired on the channel itself. Call then came up with a second single titled Pukaar, which came with a promotional video directed by Xulfi, eventually won the Indus Music Award for the Best Alternative Rock Song. The band then released an unplugged song titled Kaash.
Soon Khurram had to part roles with the band because he had to run Jilawatan Productions, the company which used to manage EP, Jal, Call and Roxen (band). Eventually Sunny and Usman left the band as well. The band said that Usman didn’t deserve to be in any band and was only there because of his brother, Sunny. Sunny, who was the real musical contributor, couldn’t contribute to the band due to his job and thus had to leave the band.
Khurram was replaced by Waqar of EP and Xulfi took Sunny and Usman’s place. A new single was released and was accompanied by a video directed by Xulfi. The song was titled Shayad and topped the charts.
Jilawatan (2005)
Now that the band’s line-up was stable, Call started recording their debut album, Jilawatan. The album was finally released in November 2005 and immediately topped the Vibes charts and stayed there for a lengthy amount of time. The album release was accompanied by a single titled Sab Bhula Kai. A video was released with the single and was directed by Sohail Javed. The single topped the charts and fared extremely well.
A while later two more singles were released, both of which were accompanied by videos. The singles, titled Kuch Naheen and Bichar Kai Bhee, both topped the charts.
Official Website-Thebandcall.com
Call was formed in 1994 by Xulfi, Omer Pervaiz, Khurram Jabbar Khan and Danish Jabbar Khan. They started out by providing background music for mime performances at NCA, Lahore under the name Undrap Nexus. Undrap Nexus' line-up was with Xulfi on the keyboard, Omer Pervaiz on the guitar and Danish Jabbar Khan on vocals. Soon, Xulfi and Danish Jabbar Khan, Khurram Jabbar Khan bought himself a drumkit and Call was officially formed. Call still needed a bassist and recruited Shahzad Hameed.
Call's musical inspirations included bands like Pink Floyd, Led Zeppelin and Iron Maiden.The band's first gig was in 1995. The site was decorated with flame torches and complimenting the band's music were live mime performances. Their setlist was composed of 10 original tracks, a rare thing for underground musicians to do back then. However, in 1996, the band's bassist, Shahzad Hameed left. After a while, the band's guitarist, Omer Pervaiz left as well in order to concentrate on his solo project, Naqsh. Xulfi and Khurram Jabbar Khan decided against disbanding the band and thus ended up recruiting Ahsan Fida Khan on guitars and Faisal Murtaza on bass.
Disbanding (2001)
On October 20, 2001, Danish Jabbar Khan, the band’s vocalist and lyricist, performed for the last time with the band at a rock festival on his birthday. Once the band’s primary lyricist and vocalist was gone, the members of the band got busy with other things. Khurram Jabbar Khan moved to the United States, Xulfi concentrated on his band Paradigm (which later became EP) while Ahsan and Faisal moved on to fulfill family obligations.
Revival (2002-2004)
In September 2002, Khurram Jabbar Khan, being a core member, returned from the United States to revive Call. Khurram and Xulfi got together and auditioned for new band members and decided that this would be an urdu project. They found Junaid’s voice to befitting for the band’s musical direction and recruited him as the band’s vocalist. Soon Sunny was chosen to be on lead guitar, Usman Nasir on rhythms and Sultan Raja (Xulfi’s student) on bass. Khurram joined in on drums.
The band’s first single, Nishaan was released through various Pakistani music websites and gained widespread fame. It went on to top the charts and also won the band its first award: Best Rock Song at the Band Baja Awards 2003. Indus Music made a live video of the song which was to be exclusively aired on the channel itself. Call then came up with a second single titled Pukaar, which came with a promotional video directed by Xulfi, eventually won the Indus Music Award for the Best Alternative Rock Song. The band then released an unplugged song titled Kaash.
Soon Khurram had to part roles with the band because he had to run Jilawatan Productions, the company which used to manage EP, Jal, Call and Roxen (band). Eventually Sunny and Usman left the band as well. The band said that Usman didn’t deserve to be in any band and was only there because of his brother, Sunny. Sunny, who was the real musical contributor, couldn’t contribute to the band due to his job and thus had to leave the band.
Khurram was replaced by Waqar of EP and Xulfi took Sunny and Usman’s place. A new single was released and was accompanied by a video directed by Xulfi. The song was titled Shayad and topped the charts.
Jilawatan (2005)
Now that the band’s line-up was stable, Call started recording their debut album, Jilawatan. The album was finally released in November 2005 and immediately topped the Vibes charts and stayed there for a lengthy amount of time. The album release was accompanied by a single titled Sab Bhula Kai. A video was released with the single and was directed by Sohail Javed. The single topped the charts and fared extremely well.
A while later two more singles were released, both of which were accompanied by videos. The singles, titled Kuch Naheen and Bichar Kai Bhee, both topped the charts.
Official Website-Thebandcall.com
Nazia Hassan
Nazia Hassan (April 3, 1965 – August 13, 2000) was an iconic Pakistani pop singer. Her song "Aap Jaisa Koi" from the film Qurbani made her a legend and pop icon in Pakistan and all of South Asia in the 80s where she is admired and loved even today, several years after her death.
Nazia Hassan was born in Karachi, Pakistan and from an early age showed interest in music. Nazia's professional career started at the age of fifteen when she provided the lead vocals for the song Aap Jaisa Koi from a Bollywood film titled Qurbani (1980), by Indian producer-director Feroz Khan. Nazia was introduced to Feroz by his friend in the United Kingdom The song was a huge success in India and despite Nazia being a Pakistani, she gained overnight fame there.
She then collaborated with Biddu, a UK-based Indian music producer who was also the composer of Aap Jaisa Koi, on numerous other projects. Biddu had previously made several hit-songs for various singers like Tina Charles and Carl Douglas. In 1981, Biddu released Nazia's first mega-hit, Disco Deewane. The album broke record sales in Pakistan and India and even topped the charts in the West Indies, Latin America and Russia. Her later albums also had vocals of her brother, Zoheb Hassan. These included Star/Boom Boom (1982), Young Tarang (1984), Hotline (1987), and Camera Camera (1992). Nazia and Zoheb appeared with music maestro Sohail Rana's Pakistani television program for children, "Sung Sung". In 1988, Nazia and Zoheb also hosted the groundbreaking show Music '89 produced by Shoaib Mansoor.
After the huge success of their music, selling millions of albums worldwide, EMI Music International also Nazia and Zoheb, making them as the first South Asian artists to be signed by an international music label.
Nazia and Zoheb's television interviews were shown on TV in India, Pakistan, Dubai, UK (big names like David Soul, David Essex, Zia Mohiuddin conducted the interviews on BBC, ITV, Channel 4 etc) and many other countries
Pakistan's vibrant contemporary music scene owes itself to Nazia Hassan's redefinition of pop. In fact, the biggest nineties bands including the Vital Signs and the Jupiters got a platform on "Music '89". Nazia also had a seismic impact in India. India Today magazine voted her as one of the 50 people who helped change the face of India. She has contributed to the development of the present isomorphism of Bollywood music and pop: “She set - well ahead of its time - the personal album trend in India”, spawning the likes of Alisha Chinai, Lucky Ali and Shweta Shetty.
In fact, such was Nazia’s success that in Bollywood there is an intriguing story stating that she outdid both in terms of sales and popularity the Indian playback singer, Lata, Mangeshkar. ” Lata's biographer Raju Bharatan poses the following question: “Were there, then, no serious challenges to Lata Mangeshkar in her long singing career?” The answer surprises: “…there was a happening in Lata's life and times that made a mere teenager a near despair for her. That teenybopper was Nazia Hasan.” He continues, “Lata’s film Aasha…just could not catch up with Nazia's Aap jaisa koi for 14 weeks running, hard as it tried! The year 1980 in Hindi film music thus belonged to a UK based Pakistani singer – a slip of a girl who came to India via England to capture subcontinental hearts. There was no way even the velvet voice of Lata could scale down Nazia during that spell.”
Besides music, Nazia has the honour of starting a noble trend of working for the under privileged and poor. All their money earned from music was spent for charity. Nazia supported the “Inner Wheel Club” of India to help with funds for them. In Pakistan, an organization “BAN” for fighting against the curse of narcotics was established. She belonged to many charity organizations and worked with her mother Muniza Basir in the low income areas of Karachi to help the needy and sick. Nazia worked with Javed Jabbar, former Information Minister, to raise funds for children in Rajasthan. She went to a very large number of schools to collect toys for the poor children and gave talks on the subject of social awareness for the under privileged. Nazia never forgot the love and support of all the schools and always spoke with great affection for them. The worthy staff and the students of St Joseph’s Convent, Mama Parsi School and many others had gone out of their way to help the cause.
Surprisingly, music was only a hobby for Nazia and though her achievements in this field were any one’s dream come true, she lived away from the glitzy world and led a secluded and simple life. She completed her education in the UK, got a law degree and then worked in the United Nations in the Security Council. Nazia continued her social work even in New York and worked for children from the UN platform.
She is known to be the "Sweetheart of Pakistan" and "The Nightingale of East". Nazia Hassan is still the symbol of grace, sacred beauty and innocence and is frequently compared to Princess Diana as she was known to possess a heart of gold. Nazia spent her teenage between Karachi and London where she would go on to read law at a London University. Nazia was married on March 30, 1995 to Mirza Ishtiaq Baig. This marriage was a complete failure and Nazia Hassan got divorced just before her demise
Nazia Hassan was born in Karachi, Pakistan and from an early age showed interest in music. Nazia's professional career started at the age of fifteen when she provided the lead vocals for the song Aap Jaisa Koi from a Bollywood film titled Qurbani (1980), by Indian producer-director Feroz Khan. Nazia was introduced to Feroz by his friend in the United Kingdom The song was a huge success in India and despite Nazia being a Pakistani, she gained overnight fame there.
She then collaborated with Biddu, a UK-based Indian music producer who was also the composer of Aap Jaisa Koi, on numerous other projects. Biddu had previously made several hit-songs for various singers like Tina Charles and Carl Douglas. In 1981, Biddu released Nazia's first mega-hit, Disco Deewane. The album broke record sales in Pakistan and India and even topped the charts in the West Indies, Latin America and Russia. Her later albums also had vocals of her brother, Zoheb Hassan. These included Star/Boom Boom (1982), Young Tarang (1984), Hotline (1987), and Camera Camera (1992). Nazia and Zoheb appeared with music maestro Sohail Rana's Pakistani television program for children, "Sung Sung". In 1988, Nazia and Zoheb also hosted the groundbreaking show Music '89 produced by Shoaib Mansoor.
After the huge success of their music, selling millions of albums worldwide, EMI Music International also Nazia and Zoheb, making them as the first South Asian artists to be signed by an international music label.
Nazia and Zoheb's television interviews were shown on TV in India, Pakistan, Dubai, UK (big names like David Soul, David Essex, Zia Mohiuddin conducted the interviews on BBC, ITV, Channel 4 etc) and many other countries
Pakistan's vibrant contemporary music scene owes itself to Nazia Hassan's redefinition of pop. In fact, the biggest nineties bands including the Vital Signs and the Jupiters got a platform on "Music '89". Nazia also had a seismic impact in India. India Today magazine voted her as one of the 50 people who helped change the face of India. She has contributed to the development of the present isomorphism of Bollywood music and pop: “She set - well ahead of its time - the personal album trend in India”, spawning the likes of Alisha Chinai, Lucky Ali and Shweta Shetty.
In fact, such was Nazia’s success that in Bollywood there is an intriguing story stating that she outdid both in terms of sales and popularity the Indian playback singer, Lata, Mangeshkar. ” Lata's biographer Raju Bharatan poses the following question: “Were there, then, no serious challenges to Lata Mangeshkar in her long singing career?” The answer surprises: “…there was a happening in Lata's life and times that made a mere teenager a near despair for her. That teenybopper was Nazia Hasan.” He continues, “Lata’s film Aasha…just could not catch up with Nazia's Aap jaisa koi for 14 weeks running, hard as it tried! The year 1980 in Hindi film music thus belonged to a UK based Pakistani singer – a slip of a girl who came to India via England to capture subcontinental hearts. There was no way even the velvet voice of Lata could scale down Nazia during that spell.”
Besides music, Nazia has the honour of starting a noble trend of working for the under privileged and poor. All their money earned from music was spent for charity. Nazia supported the “Inner Wheel Club” of India to help with funds for them. In Pakistan, an organization “BAN” for fighting against the curse of narcotics was established. She belonged to many charity organizations and worked with her mother Muniza Basir in the low income areas of Karachi to help the needy and sick. Nazia worked with Javed Jabbar, former Information Minister, to raise funds for children in Rajasthan. She went to a very large number of schools to collect toys for the poor children and gave talks on the subject of social awareness for the under privileged. Nazia never forgot the love and support of all the schools and always spoke with great affection for them. The worthy staff and the students of St Joseph’s Convent, Mama Parsi School and many others had gone out of their way to help the cause.
Surprisingly, music was only a hobby for Nazia and though her achievements in this field were any one’s dream come true, she lived away from the glitzy world and led a secluded and simple life. She completed her education in the UK, got a law degree and then worked in the United Nations in the Security Council. Nazia continued her social work even in New York and worked for children from the UN platform.
She is known to be the "Sweetheart of Pakistan" and "The Nightingale of East". Nazia Hassan is still the symbol of grace, sacred beauty and innocence and is frequently compared to Princess Diana as she was known to possess a heart of gold. Nazia spent her teenage between Karachi and London where she would go on to read law at a London University. Nazia was married on March 30, 1995 to Mirza Ishtiaq Baig. This marriage was a complete failure and Nazia Hassan got divorced just before her demise
Vital Signs
Vital Signs was Pakistan's first widely known pop band and were given the title of "pioneers of pop music. The original line up consisted of Junaid Jamshed on vocals, Rohail Hyatt on keyboards, Shehzad Hassan on bass and Nusrat Hussain on guitars. They were extremely popular and produced four very successful albums.
History:
The band shot to instant fame with their 1987 patriotic song Dil Dil Pakistan, which was voted the 3rd most popular song of all time by BBC World.
Soon after, Nusrat Hussain parted ways with the band to make way for guitarist Salman Ahmad. They released their successful debut album in 1989 along with TV producer Shoaib Mansoor who also wrote the lyrics for the band. Shoaib Mansoor also directed a mini-drama Dhundle Raste about true story the band, in which the band member acted themselves. In 1990, Salman Ahmad left the band, and was replaced by guitarist Rizwan-ul-Haq.
After Rizwan-ul-Haq joined the band Vital Signs released Vital Signs 2, the follow up to their debut album in 1991 which was a departure from the band's rosy imagery and sound.
In 1993, Vital Signs began work on their third album in Rohail Hyatt's studios in Rawalpindi. A few months later they released the album Aitebar, which soon outsold its predecessor, Vital Signs 2. On Aitebar, the Vital Signs returned to the upbeat mood of their first album. After performing a number of concerts managed by Rohails brother, the group headed out with director Shoaib Mansoor to film Guitar ‘93, a Pepsi-financed venture featuring videos shot all across Pakistan.
During 1995, Vital Signs began work on their fourth album. Vital Signs asked Assad Ahmed (then Awaz and current Karavan) to play on the new album. The album was titled Hum Tum. Producer Rohail Hyatt improved on the moody Pink Floydian sound and production he first attempted on 1991's Vital Signs.
After the release of Hum Tum, the band concentrated on their personal projects and Vital Signs drifted away. Junaid Jamshed went on to pursue a career as a solo singer, Shehzad Hasan concentrated on his work as a music producer and Rohail Hyatt formed a production company.
Members:
Rohail Hyatt (Keyboards / Guitars)
Shehzad Hasan (Bass)
History:
The band shot to instant fame with their 1987 patriotic song Dil Dil Pakistan, which was voted the 3rd most popular song of all time by BBC World.
Soon after, Nusrat Hussain parted ways with the band to make way for guitarist Salman Ahmad. They released their successful debut album in 1989 along with TV producer Shoaib Mansoor who also wrote the lyrics for the band. Shoaib Mansoor also directed a mini-drama Dhundle Raste about true story the band, in which the band member acted themselves. In 1990, Salman Ahmad left the band, and was replaced by guitarist Rizwan-ul-Haq.
After Rizwan-ul-Haq joined the band Vital Signs released Vital Signs 2, the follow up to their debut album in 1991 which was a departure from the band's rosy imagery and sound.
In 1993, Vital Signs began work on their third album in Rohail Hyatt's studios in Rawalpindi. A few months later they released the album Aitebar, which soon outsold its predecessor, Vital Signs 2. On Aitebar, the Vital Signs returned to the upbeat mood of their first album. After performing a number of concerts managed by Rohails brother, the group headed out with director Shoaib Mansoor to film Guitar ‘93, a Pepsi-financed venture featuring videos shot all across Pakistan.
During 1995, Vital Signs began work on their fourth album. Vital Signs asked Assad Ahmed (then Awaz and current Karavan) to play on the new album. The album was titled Hum Tum. Producer Rohail Hyatt improved on the moody Pink Floydian sound and production he first attempted on 1991's Vital Signs.
After the release of Hum Tum, the band concentrated on their personal projects and Vital Signs drifted away. Junaid Jamshed went on to pursue a career as a solo singer, Shehzad Hasan concentrated on his work as a music producer and Rohail Hyatt formed a production company.
Members:
Rohail Hyatt (Keyboards / Guitars)
- Produced all the Vital Signs albums
- Later formed a production house called Pyramid Productions
- Composed and produced the number one hit track Jiya Dhadak Jaye sung by Rahat Fateh Ali Khan
- Is regarded as one of the finest Music producers in Pakistan
Junaid Jamshed (Vocals)
- Released three solo albums after Vital Signs' fourth album, all produced by Shoaib Mansoor.
- Announced that he would not perform or make any more music several times due to his religious commitments.
- Owner of a successful fashion label in Pakistan.
- Has now left the music and went in islamic teachings
Shehzad Hasan (Bass)
- Worked with India's Pooja Bhatt on her movie Paap.
- Produced the critically acclaimed album Sawal by Rushk
Shoaib Mansoor (Composer/lyricist)
- Introduced Vital Signs to the mainstream.
- Was Junaid Jamshed's mentor
- Composed and produced most of the Vital Signs' albums.
- Composed a number of their hit numbers such as Dil Dil Pakistan and Aitebar.
- Directed all Vital Signs videos, producing a music video compilation and movie titled Geetar '93.
- Directed the acclaimed movie "Khuda Kay Liya" and several popular drama series like "Alpha Bravo Charle" , "Sunhahray Din"
Pakistani Artists and Bands Details
Below are the famous Pop Artists and Bands whose members details are available here. Click on the one you want to know about & you will get the information.
More will be updated Soon!
- Vital Signs
- Nazia Hasan
- Call
- Jal
- Aaroh
- Atif Aslam
- Noori
- Junoon
- Akash
- Fuzon
- Strings
- Shehzad Roy
- Ali Zafar
- Hadiqa Kiyani
- Zeb & Haniya
More will be updated Soon!
Pakistani Pop Music History
Pakistan is blessed with talent and when we talk about Pakistani Music, you can never stop picking up one of the best Pakistani pop song uptill now because there are number of such hit songs nobody can judge the best one in past decades such as "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 agape and many more. Our artists' are popular all over the world. Many new talented artists in Pakistan are still working hard to bring quality Pakistani music.
We can easily judge Alamgir as the pioneer of music industry who's first big hit was "DEKHA NA THA KABHI HUM NAY YEH SUMMA", and remains the song he is still most identified with, though later songs such as "Yeh Shaam Aur Tera Naam" and "Mein Ne Tumhare Gagar Se Kabhi Pani" continued to add to his composition. Alamgir, it must be said, laid the groundwork that countless others used to break into the music industry. He not only sang well, he was a performer in the true sense of the word. There is no denying Alamgir’s contribution to the evolution of the pop music genre in Pakistan.
NAZIA HASSAN was the first one to cross the forbidden Pakistan-India border to sing in an Indian film called "Qurbani" which was "APP JAISA KOI". And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release "DISCO DEEWANE" which became the biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, "Boom Boom", in 1984. This second collaboration with Biddu, the undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point in the pop history.
And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named "Dil Dil Pakistan" in 1986. Their album released in 1987 with gems like "Yeh Shaam" and funky "Goray Rung Ka Zamana".
Then came Jupitars with their evergreen hit songs “Yaroun Yehi Dosti Hai", continued with Hassan Jehangir’s “Hawa Hawa" in 1990, "Sanwali Saloni" by Vital Signs in 1991, "Sar Kiye Yeh Pahar" in 1992 by the Strings, Sajjad Ali’s "Didi" ripoff "Babia" in 1993, Najam Shiraz’s "In Se Nain" in 1995, Junoon’s "Saeein" in 1996 or Awaz’s "Mr. Fraudiye" in 1997. Junoon came into the race with their World Cup Hit song “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 street-wise 1995 hit "Chief Saab". Full of Karachi slang and tough imagery, "Chief Saab", perhaps more than anything else signified the coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion of the pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gave the music for Hollywood movies and as well as for many Bollywood movies too.
The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success with the haunting "Saeein" to recast itself as a completely different sort of band. Here we saw pop again intersecting with 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 vocalist Hadiqa Kiyani and young Shehzad Roy suddenly became household names. Even iconoclastic recluse virtuosos like guitarist Amir Zaki (whose almost purely instrumental album "Signature" did well in the market) were receiving the kind of airplay the big bands of the ’80s could only have dreamed of.
Pop industry had big turnaround when private channels came into the scene, Like IM which became the medium to introduce young talents in the pop industry names like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal which not only rock the Pakistani pop music but also made their names worldwide. The new arrivals made their presence felt through remarkable individual songs, even though full albums for now seemed beyond most new acts. Ahmad Jehanzaib's Ek Bar Kaho, Fuzon's Ankhon Ke Saagar and Schehzad Mughal's Bas Yunheen were each excellent. The first two were carried by soulful, ardent vocals and the last shone through affecting lyrics. Hot on their heels, honourable mentions must also go to Aks 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 incisive People Are People, EP's piledriving Hum Ko Aazma, Najam's infinitely catchy !
Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar’s startling Chanoo ki Ankh, Jal’s splendid addat and yes even Ali Haider's insipid but still memorably melodic Chandi Ratain. Abrar's Preeto was the novelty hit of the year. The Pepsi Battle of the Bands did a great job in throwing up a wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others all have Pepsi to thank. The Pepsi Battle of the Bands got all these fledgling bands great exposure.
Recently, a team of talented Pakistani musicians and artists took the long road to Mumbai, via Dubai, possibly to make history, for this was the first time in recent memory that Pakistanis had gone to India to create the background score for a Bollywood film. The film in question is Pooja Bhatt's Paap, and former Vital Sign Shehzad 'Shahi' Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio session player and keyboardist Faiz Ali Naqvi, were the foursome representing the world of Pakistani music in India.
Strings enjoyed considerable success with Dhaani. Probably the most hyped album of the year, with lead single Chaaye Chaaye being the standout favourite. String gave the soundtrack for Spiderman 2 which was a remarkable effort.
Junaid Jamshed's Dil Ki Baat was understated but assured and notwithstanding JJ's quite public and tortured ruminations over religion and music, the album showed that JJ is still competent at middle of the road pop and that Shoaib Mansoor still has the magic touch. Shahzad Roy's Rab Jane was hobbled by his illness and yet catches the fire while Karavan's Gardish seems to have suddenly picked up and was sold like hot-cakes. Schahzad Mughal's Jhoom Lay was one of the most pleasant of surprises of the year.
So this proves that our music industry has dared to move forward with hope rather than skepticism.
We can easily judge Alamgir as the pioneer of music industry who's first big hit was "DEKHA NA THA KABHI HUM NAY YEH SUMMA", and remains the song he is still most identified with, though later songs such as "Yeh Shaam Aur Tera Naam" and "Mein Ne Tumhare Gagar Se Kabhi Pani" continued to add to his composition. Alamgir, it must be said, laid the groundwork that countless others used to break into the music industry. He not only sang well, he was a performer in the true sense of the word. There is no denying Alamgir’s contribution to the evolution of the pop music genre in Pakistan.
NAZIA HASSAN was the first one to cross the forbidden Pakistan-India border to sing in an Indian film called "Qurbani" which was "APP JAISA KOI". And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release "DISCO DEEWANE" which became the biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, "Boom Boom", in 1984. This second collaboration with Biddu, the undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point in the pop history.
And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named "Dil Dil Pakistan" in 1986. Their album released in 1987 with gems like "Yeh Shaam" and funky "Goray Rung Ka Zamana".
Then came Jupitars with their evergreen hit songs “Yaroun Yehi Dosti Hai", continued with Hassan Jehangir’s “Hawa Hawa" in 1990, "Sanwali Saloni" by Vital Signs in 1991, "Sar Kiye Yeh Pahar" in 1992 by the Strings, Sajjad Ali’s "Didi" ripoff "Babia" in 1993, Najam Shiraz’s "In Se Nain" in 1995, Junoon’s "Saeein" in 1996 or Awaz’s "Mr. Fraudiye" in 1997. Junoon came into the race with their World Cup Hit song “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 street-wise 1995 hit "Chief Saab". Full of Karachi slang and tough imagery, "Chief Saab", perhaps more than anything else signified the coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion of the pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gave the music for Hollywood movies and as well as for many Bollywood movies too.
The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success with the haunting "Saeein" to recast itself as a completely different sort of band. Here we saw pop again intersecting with 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 vocalist Hadiqa Kiyani and young Shehzad Roy suddenly became household names. Even iconoclastic recluse virtuosos like guitarist Amir Zaki (whose almost purely instrumental album "Signature" did well in the market) were receiving the kind of airplay the big bands of the ’80s could only have dreamed of.
Pop industry had big turnaround when private channels came into the scene, Like IM which became the medium to introduce young talents in the pop industry names like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal which not only rock the Pakistani pop music but also made their names worldwide. The new arrivals made their presence felt through remarkable individual songs, even though full albums for now seemed beyond most new acts. Ahmad Jehanzaib's Ek Bar Kaho, Fuzon's Ankhon Ke Saagar and Schehzad Mughal's Bas Yunheen were each excellent. The first two were carried by soulful, ardent vocals and the last shone through affecting lyrics. Hot on their heels, honourable mentions must also go to Aks 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 incisive People Are People, EP's piledriving Hum Ko Aazma, Najam's infinitely catchy !
Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar’s startling Chanoo ki Ankh, Jal’s splendid addat and yes even Ali Haider's insipid but still memorably melodic Chandi Ratain. Abrar's Preeto was the novelty hit of the year. The Pepsi Battle of the Bands did a great job in throwing up a wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others all have Pepsi to thank. The Pepsi Battle of the Bands got all these fledgling bands great exposure.
Recently, a team of talented Pakistani musicians and artists took the long road to Mumbai, via Dubai, possibly to make history, for this was the first time in recent memory that Pakistanis had gone to India to create the background score for a Bollywood film. The film in question is Pooja Bhatt's Paap, and former Vital Sign Shehzad 'Shahi' Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio session player and keyboardist Faiz Ali Naqvi, were the foursome representing the world of Pakistani music in India.
Strings enjoyed considerable success with Dhaani. Probably the most hyped album of the year, with lead single Chaaye Chaaye being the standout favourite. String gave the soundtrack for Spiderman 2 which was a remarkable effort.
Junaid Jamshed's Dil Ki Baat was understated but assured and notwithstanding JJ's quite public and tortured ruminations over religion and music, the album showed that JJ is still competent at middle of the road pop and that Shoaib Mansoor still has the magic touch. Shahzad Roy's Rab Jane was hobbled by his illness and yet catches the fire while Karavan's Gardish seems to have suddenly picked up and was sold like hot-cakes. Schahzad Mughal's Jhoom Lay was one of the most pleasant of surprises of the year.
So this proves that our music industry has dared to move forward with hope rather than skepticism.
Fuzon's Album Journey
After leaving of Shafqat Amanat Ali and replacement with Rameez Mukhtar, Fuzon released its album Journey whose songs became very popular in Pakistan Musicmania..Among these 'Suna Suna' was very famous and has become best video. While "Neend Na Aye" also proved o be a good song. The songs are very nice and loving.
You can download them below.
You can download them below.
- Neend Na Aye
- Suna Suna
- Tu Kahan
- Dholna
- Abi Hum Kahan Hain
- Teri Yaadaan
- Jo Dil Ne Kaha
- Laagay Na Jiya
- Aatish O Aab
- Jo Dil Ne Kaha
- Choo Lo
Atif Aslam's Best Album "JaL PaRi"
Atif Aslam's First and Best Album of all "Jal Pari" , Its all songs are given below. Click them to download enjoy..
- Aadat
- Ehsaas
- Zindagi
- Yaqeen
- Aankhon Se
- Aadat [Deep Blue Version]
- Mahi Ve
- Jal Pari
- Bheegi Yaadein
- Tehzeeb
- Gal Sun Ja