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album profile
A welcome return to brilliance
Abrar-ul-Haq's latest offering is cheeky, sarcastic and a
lot of fun, filled with foot-tapping numbers
By Mohammad A. Qayyum
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Artist:
Abrar ul haq
Album:
Naraa Sada Ishq Aye ****1/2
After a couple of unsettled though commercially successful albums,
Abrar-ul-Haq's latest album Naara Sada Ishq Aye is remarkably close
to being one of his greatest. Whereas his best albums have endeared
themselves to the listener with wit and sprightly bhangra beats, Abrar
lately had struggled with the onset of maturity and personal tragedy.
Resultantly, his recent albums, notwithstanding the hit commercial
numbers, seemed to moving towards traditional folk and generally more
sober numbers. The latter often were uninspired and seemed to imbalance
each album: Billo seemed to have gotten the blues. However, Abrar
with his latest shot finally seems to have gotten his A-game together
and turned in an album of quite consistent brilliance, be it singing
the bhangra crowdpleasers or the more meaningful downtempo numbers.
With a market recently swamped by a slew of underwhelming albums from
established artists (some good singles, effective videos and a lot
of filler), Abrar is possibly the only one of the few who manages
to retain some of his luster, if not add to it. |
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The album
is top heavy with compelling commercial songs: each is toe-tapping
in its bhangra way and yet loaded with wit. Domesticity and fatherhood
seems to have brought the humor and indeed salaciousness back in Abrar.
Tongue in cheek bhangra rules: The most outstanding of the numbers
is 'Parmeen', his most hilarious song in ages (challenging Michael
Jackson: Micheal Jackson Ik Wari Aya Narowaal Si/ Rang Uda Chita Si
Te Lambe Lambe Waal Si/Sade Naal Hoya Uda Music Muqabla/ Bhangre Pua
Ke Apa Dus Dita Gavla).
More memorably, it is a song to add to the catalog of 'Billo' and
'Preeto' of days yore. Coupled with pristine production and dance
friendly beat, the song is a winner, starting with a faux English
qawwali bit and then launching into its lafontar Punjabi heart. Reportedly
it has already resulted in several neighbourhood disputes in the street
of real-life Parmeens/ Parveens. |
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Similarly, 'Jutt' (no iffs and no Butts/only Jutt) is an instant classic:
it revisits the Jutt of Beh Ja Cycle Tai. Lyrically the Poor Jutt
remains embroiled in his legal problems still (Jiddo`n Hoya Na Koi
Judge Kolo`n Faisla/Katchehri Aapay Laa Lai Jatt Nay.) This time around
though Mr. Jatt is fleshed out more and seems to be wrestling with
his nature (Jatt Da Hay Style Puraana/ Paawain Sooli Charhna Pay Jaey/
Keeta Qoll Qaraar Nibhaana) and indeed the onset of modernity (Lorr
Paway Tay Fait Vee Karda Aey/ Internet Tay Chat Vee Karda Aey). He
even seems to be developing a taste for public service: (Shehar Dee
Corruption Jatt Nay Mukaani Aey/ Putt Sutthni Aey Paawai`n Kinni Vee
Purani Aey/ Qabzay Qubzay Rehn Nai Dainay/ Jaggay Tax Vee Lain Nai
Dainay). Through these two song mostly sets out his high standard
bhangra stall.
The title song 'Naara Sada Ishq Aye(Islamabad)' which has already
been released as the first video in contrast is middling: it is commercial
but not the best song on the album. The song is interesting in that
it works as a political satire of bureaucracy on one level, and on
the more trite level it tells the story of how in Abrarland the government
has decided to impose a tax on beauty (through a fax from Islamabad
no less). Abrar declares himself the leader of the resistance and
agitates for removal of said tax. Ultimately, the song works best
as a regular rumpshaker. It would have been a better song had it not
recycled vocal lines from 'Beh Ja Cycle Tai'. 'Run Baabay Dee' similarly
is rollicking in the best tradition of 'Kuriyan Lahore Diyan' and
'Boliyan' but is also somewhat lesser than those masterful songs,
perhaps because it is comparatively restrained.
While some songs are generally excellent, there are certain missteps
on the album as well: just as Abrar's horizons seem to have broadened
with international exposure, he has also tried to broaden his pallete.
These unfortunately have resulted in the weaker tracks on the album.
The album opener 'Rano' for example is an attempt at a UK Bhangra/desi
R'n'B song that never really manages to gel despite its pristine production.
The ballad 'Saanson Mein' is worse. Whereas his previous ballads ranged
from excellent ('December') to tolerable, this one is just laden with
horrible lyrics and weak unwieldy melody. A track to skip over.
In contrast, in terms of singing 'Mela' is rather more soulful as
it is placed squarely in the folk tradition. It however is lyrically
in marked contrast to the Mela in 'Kuriyan Lahore Diyan'. In fact,
it appears metaphorical and metaphysical. What starts off a song about
a family trip to the fair in the end reveals itself to be an existential
song about mortality and morality. The song has great depth and is
in fact indicative of the generally more sober vibe of the second
half of the album.
For the second half of the album, the lascivousness is put away and
Abrar is generally more sober and compelling. He opens up his heart
– he lost his parents a while back – with 'Maan'. A harrowing
number, musically retro in the best tradition of Alam Lohar, it is
one of the most emotionally naked songs released in recent memory,
a son's ode to a dead mother. What could have been a huge misstep
is an honest statement of intent and unbearably affecting number.
Lyrically, throughout the album Abrar is extremely insightful and
the songs are almost always well-observed: this places him a step
or two ahead of all other local stars who if they ever venture beyond
love songs, talk in vague generalities and have little or anything
original to say. Abrar manages to say a lot even when he is being
crass: Point in case is the song 'Patlo Jai' with stunning lyrics,
which is a down tempo traditional bhangra with a twist. It is perhaps
the first desi songs to deal with anorexia and the dieting culture
(Modeling Pai Kardi Ae Modeling/Doctor Ne Ditti Aenno Waring/O Je
Tu Dyeting Na Chaddi Te Tu Marjayen Gi, … Turdi Phirdi Case
Bai Labdi Ai… Market Jad Jandi Ae,Market/Diet Khajooran Diet
Pakorre Mangdi Ae). Not only is it utterly scathing, it is lyrically
incisive. It is livened up by the backing vocals and is really well-observed.
As with this and other songs, the album has a lot of thaith Punjabi.
That remains a part of its charm: The lyrics are actually worth listening
to and figuring out. The joy of finally figuring out what exactly
Abrar was saying is something to experience.
The album closer is a sober reading of 'Alif Allah', the traditional
number by Sultan Bahu: it reveals Abrar in strong voice and singing
really well. The introductory monologue is however self indulgent
and a tad embarrassing. This soulful reading brings a sprightly album
to a rather unusual and understated end.
Overall, the album is impressively produced with nary a note out of
place. This is even more impressive considering the range of the bhangra
and pop substyles attempted. The album perhaps to its detriment is
a tad on the short side with only 10 songs on offer. Nevertheless,
the album has been well marketed by Geo Network & Telenor but
manages to remain more than mere product by dint of being witty, knowingly
commercial and in parts truly soulful. Ultimately, Naara Sada Ishq
Aye as an album succeeds because it achieves the rarest of things
for Pakistani pop music to achieve: artistic growth and expression.
Resultantly, it reveals that despite the onset of respectability and
maturity, Abrar remains one artist who does not appear ready to settle
down or lose his wit. Thank goodness for that. |
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