a Pakistani pioneer

Entertainment Showbiz Pakistan , Bollywood & World Entertainment
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I apologize to everyone for posting a cut-and-paste but the following is a brilliant interview of a brilliant man who I’ve never read much about before. The following is a must read for anybody that was ever a VS fan. Enjoy.

**The Vital Sign **
By Saba Imtiaz

Everyone from the 90s generation has a Vital Signs story to tell. After all, we grew up listening to Dil Dil Pakistan and seeing our elders murmur disapprovingly about the long haired guys who had (hai hai!) taken up music as a profession. We played air guitar to their songs anyway, and fell into bouts of depression when the band faded away shortly after the release of their fourth and most brilliant album, Hum Tum.

One wintry afternoon, I walked in a daze into Rohail Hyatt’s home; blessing my Editors for the opportunity to interview the creative genius. How does one introduce Rohail Hyatt? The man of whom musicians speak in tones of awe and utmost respect and whose work is still craved by music aficionados? The creative genius behind Pakistan’s first proper pop band – the Vital Signs, the former pin-up boy for screaming groupies who is now CEO of Pyramid Productions, a leading production house? The eloquent and courteous man with rock star looks reminded me of a Sadequain painting – a mélange of different colors, ideas, concepts and moods which all blend together effortlessly.

**Rohail, Pyramid Media is one of the leading production companies in Pakistan. Was media production something you were always interested? **
It came quite naturally. I can’t say that it was a childhood ambition to have a production house, if you know what I mean. But I found it to be a very natural departure from what I was doing musically, because we were into making videos, etc. So it came naturally, but I won’t say that it was always part of my plans.

Was Pyramid solely your brainchild? How did you get to media production from music production?
It was a related field, so it came very naturally. It wasn’t just my brainchild, there was an opportunity and I jumped at it.

What kind of projects is Pyramid Media involved in?
Pyramid has evolved into a sort of multimedia shop, as of late. We’ve got a fully interactive IT department that does website development, flash development, that’s the media portion. Other than that it’s just the regular stuff, TV shows etc. I think the edge we have over other production companies is that we are including real media.

Working with media production, are you in touch with the local music scene?
I’m not as in touch with it as I would like to be. I got back into music after years… I’ve just been back at it for a month. So, just to get a feel of what’s going on, I switch on Indus Music. I did a project called the Battle of the Bands so that gave me a very good idea of the source of talent. But I’ve been in touch from that perspective - in god fatherly sort of ways, knee deep into it.

But I’m jumping right straight into it now and I plan to use a lot of the local musicians for the project that I’m working on. So, yeah, while I was wondering what to use, I sort of went into the channel, looked into it… other than what I’ve seen at the Battle of the Bands, I find a lot of talent out there. I think it’s great.

There’s been a frenzy of releases in the past year. It has been a great year for Pakistani music. What Vital Signs set out to do is finally being realized. How do you feel about that?
Well, it’s a great feeling. I think that the respect that people from the industry give, y’know. Whenever you’re at parties and you see the new “in” thing it brings back memories of what it used to be like for us. It’s great to feel that you’ve left a mark; it’s a great feeling to have started something that has snowballed into something so massive.

But yes, there is the tendency to watch and think that we used to do this… which I’m now getting out of that mindset. It’s not something I used to do, it’s something I still do and still belong to. So I feel very much part of what’s happening and not so detached from it.

Among all the new acts are there any that particularly impress you?
Sorry, I’m not good with names. I don’t see the opening and closing of a song to see who this person was but there is a lot of good stuff out there. There’s a lot of other stuff which I thought I’d mention like Rushk… very good stuff.

I must add that there is a problem with Pakistani music. All this has been very cosmetic, and it still is, and I think that’s something we (Vital Signs) launched as well - cosmetic pop music. I would like to have seen people broken away from the commercial, cosmetic side of things; just express whatever they’ve felt.

But I see a lot of contrived stuff, so about being impressed by people; I think people are making a mark, people are getting popular, but expressing what they really want to say - I don’t think so. But it’s evolving and there’s hope. One would like to see more real creativity.

Pepsi Battle of the Bands

**Battle of the Bands surely brought forth new talent. Is there a Battle of the Bands 2 planned? **
Yes, there is another Battle of the Bands planned but on a totally different format. I can’t talk more about it right now (contractual obligations).

And whatever became of the BOB album?
You see… that’s exactly what I’m trying to get at. I think that the album would’ve done really well. I had really pushed for it. But unfortunately the sponsors did not want to; the record label said no unknowns would sell. And we’re all driven by commerciality; all around us. If I was a record company and if I was a sponsor I wouldn’t think twice before injecting some sort of new music.

Everything was there - the master recordings were there, all they had to do was to put them into volumes, Volume I, Volume II and so on; we had four volumes worth of music in that and we had the rights to actually launch the album. It would have been good for the artistes; it would have been good for the people in general who liked that music but the record labels felt that there was too much unknown material in there.

Were there any problems with Aaroh over the services promised to them as winners?
Two things - I had a specific role in the project. I had to get all these people together in the fairest manner, have a voting system set up, audition them, select them and get to the finals and that’s where my job was done; at the conclusion of the Battle of the Bands, according to my contract. After that, it was between the band and whoever they signed up with - I had nothing to do with that.

But at the same time, I know for a fact that there were issues, but what was promised to them was certainly not an issue. They absolutely did not deliver what they were supposed to deliver - which is an album on time, the same line-up. The line-up changed, Eddie (Aaroh’s ex-drummer) left and the band sort of disintegrated a bit. They were supposed to retain the first line-up. I remember when it was being talked about. I was part of the meetings of the post winning thing.

Has Aaroh come out with an album? Did Pepsi sponsor it? I’m kind of out of touch so I don’t know…
Yes, they did, and it has a Pepsi label on it, along with the Winners of the BOB one. But the band stated publicly that they were not with Pepsi anymore, and though different stories were rife, they were blaming Pepsi.
You have to understand one thing. When corporate companies come in, they have their own objective. Their objective is not to promote music; their objective is to tie in their product with music. Something people forget. Pepsi is not a record label; they’re a soft drink company. At the end of the day they sell bottles to have an objective met. How they choose to do it is through cricket and music.

I read all this multinational bashing going on, one doesn’t realize that they’re the ones who’ve filled the vacuum that the record labels left open. It’s a record label’s job to actually launch albums, make careers, find new talent - but no record label in this country is willing to do that.

People take swipes, that “Oh, they didn’t fulfill the contract”, but I know for a fact that when a company like Pepsi wants a deadline met it’s for a specific cause. For example, they plan that a season for music is coming, so we’ll tie in a product with music, and we’ll move on to cricket. You miss that slot… and they’ve moved onto cricket. You’ve been left behind.

I know for a fact that Pepsi were very worried at a certain time that Aaroh was just not completing the album. They were like… all our plans have gone down the drain. They had big plans; you can imagine the money they must have spent in building the Battle of the Bands. It doesn’t make any, any sense at all not to utilize it.

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Exactly, it doesn’t make sense.
Their plans must have been thoroughly jeopardized in terms of taking mileage out of it and I’m sure they didn’t get the kind of mileage out of Aaroh that they would have expected. You see, that’s the whole objective. So whereas Aaroh may go around bitching about their bad luck, you know multinationals don’t do it, but if they did, I tell you they’d have serious issues as well. As in, we spent a year on this project, we’re going to build this new band up and we’re going to get mileage out of it. What mileage did they get? Nothing. It’s a lot of money down the tube if you ask me.

So you see there’s a flipside to that whole thing. Fine, I’m an artiste, and suddenly a sponsor knocks on my door and says “next month you’re going to have to deliver this on a creative deadline.”

Again, my message to all the new bands coming in is that we have to figure out our own priorities. Are we creative people who’ll take forever to do something and not worry about deadlines? Or are we going to work on a deadline and try to do our best within that? Now, the purists will say, no way are we going to compromise on this, but I tell you, anywhere in the world, whether it’s a multinational company or a record label, bands are under pressure to deliver a certain thing at a certain time. Otherwise, they’re gone.

You know, when you’re Pink Floyd, you can take a vacation for ten years, but that’s when you’ve become Pink Floyd and you’re not under that kind of pressure. I was watching an interview of Pink Floyd, they said that they had to deliver the album, the Dark Side of the Moon by a certain deadline that they were given by their record label, EMI. You have to finish this by this time and that’s it. All your creativity ends that day and the machinery of releasing it gets into place. So it happens all over the world. I don’t know why people have such an issue with it. Otherwise you can make music for the rest of your life and release it when you feel like it.

The new project

So what kind of music are you going to do in your new project? **
It’s not what people have ever heard from me, I suppose. I’ve had an opportunity to reflect back on what work I’ve done. At some of the times it might have served its purpose. **Its just some portions of it were just too bubble gummy for my taste. I’m having a great time doing this dark, moody album. It’s a concept album - its not singles. A fifty minute collage of various ideas and it’s a natural reflection rather than any consideration of what you or somebody else might want to listen. It’s the things I’ve experienced.

Last night, I was working on extremism; something that haunts everybody. But extremism in all its forms and manifestations around the world. And I made this really sinister, dark sort of track which is about extremists all over the world and so it’s basically coming out of that.

What will be your role - are you just composing? **
**I’m playing, I’m composing.. I’m not singing. I don’t sing. There are going to be a lot of singers on the album. Right from some of the new people to some of the old people.

Would you like to name anyone?
Umm…naming will be an issue, it might give rise to complications for some of the people involved with it. But basically any and everybody who is willing to participate.

How are you going to release it? Any special plans for it?
Certainly. It’s going to be a multidimensional album; it’s not just going to be for the local market because I’ve got certain people from abroad who are interested in it. Especially the instrumental portions of the album. It’s got a lot of voice-overs, a lot of talking.

As I said, it’s a concept album. A particular reflection of a mood being created by music and there’s narration on top. For example, the extremism bit. I’ve got international vendors who are interested in something coming out of here. So the project involves traveling. I have to go record at source, get a lot of samples and stuff. I’ll be traveling up north pretty soon. It’s not an album that you do in a month; it’s going to be a long haul.

In terms of its launching, it’s not going to be anything like that cosmetic, bubble-gummy sort of launch. It’s going to just happen, but obviously I’m going to try and push it as much as I can.

So, no specific time frame?
No deadlines. I’m not under any pressure to release the album now or three months from today - I told myself that when I started it. Basically, most of the songwriting is done now. I’ve got scratch tracks down. I’ve worked with Assad Ahmed for the guitars. He comes over every night these days and we sit down and work on the tracks. I love working with him. I think he’s a superb guitarist. Something clicks with me and his playing, which I realized in the fourth (Vital Signs) album Hum Tum, I used him and he’s just superb. So I’m using him for the guitar work.

**Music Production **

*You’ve been known for your excellent production work on Vital Signs albums. The benchmark set by Hum Tum is something still not many bands have been able to come close to. Why have you not tried to put yourself out there as a producer like Shahi has? *
I think two things; (a) I didn’t position myself like that and (b) I don’t think I was approached by any band that said ‘produce us’. I know I would have, if you know what I mean.

You know, somebody has to like what I do and then say we’d like you to apply yourself to what we’ve created. Make it more spacey or whatever it is that they like about my work. But I don’t think that I’d sort of see Noori on TV and say that’s the band I’d like to produce, and go ‘Hi Ali, would you like to have me produce your album?’ and have him say, ‘Not really, we don’t like your style of music, thank you very much.’ (laughs). I don’t think I’m interested in doing that. My doors are open in terms of wanting to produce stuff but again, having said that, I don’t think I’d be able to produce most of the people out there.

Because you wouldn’t be able to connect with them?
Yes, because you have to believe in what you’re doing. They have to come to me for what I’m good at, not what somebody else is good at, obviously. But there’ll always be a struggle. They will want me to make them sound like somebody I can’t make them sound like or somebody I don’t like and then I’ll be doing it just for the money and then I’d rather not do it.

There are rumors that you and Shahi are working together on the next Sequencers’ album. Any truth to that?
No

The rumors you hear…
There’s some weird stuff out there. I went onto these talk forums and stuff (laughs) - I was like, ‘oh my God!’ There are all sorts of theories and whatnot.

Some people specialize in coming up with those theories.
Mind boggling. Amazing imagination. Those people should put themselves to good use.

Why do you think it has been so hard for other artists to produce something of the standards set forth in Hum Tum? Is it the studios, the equipment, the producers involved or simply the lack of experience?
I can’t attribute it to the studios because I just did it at home. Hum Tum was made in fourteen days... we were under pressure. I’m sure everyone who works on their stuff feels like they’ve created a masterpiece and they say, “Hum Tum kya cheez hai…yeh dekho.”

One thing, right from very early on in life, when I put my headphones on and listened to bands like Pink Floyd; there was always this urge and aspiration to want to know what’s all this going on? Why does this sound like the way it does and if you put something else on, any normal music, the dimensions were missing. Then I figured, there are paintings and there are paintings - there are depths and all that.

**A lot goes into music, and every time I sit down to create music I certainly create a picture in my mind. The picture I create with music has a lot of colors; it must look bright in the end. Its not just about what you hear, its about what you see in music and I think Hum Tum, barring the few songs...err, what do I say about those songs.

Well, I felt the beginning of Janaan Janaan to Namumkin, that whole chapter, certainly had a mood and a color to it and at the time it felt right. It felt that I might have gone close to achieving. It’s certainly nowhere near what I would have liked to do, but yes, sweet melodies with this darkish sort of undertone and it wasn’t overdone. **

These days, what I feel bands are doing; its all choc-a-bloc, it’s full of stuff. I like the negative spaces in music. I like what’s not there. If you think about it, music is also about what you don’t hear. It’s the negative spaces. For example, everything you leave out could also be music. It becomes interesting when things are not there. And I see people filling up every single space with something they’ve got, and in the end it’s just…. they create their picture but I know I create a lot of empty spaces which I know people will say, no way, when we hear some of the Vital Signs stuff there’s too much happening, but there’ll be too much happening overall.

There will be a lot of negative spaces over there. These are my own theories of what works. Again, it’s all the headphones that helped me in understanding this. That is what I applied, that’s how I make music. So if somebody is appreciating it out there, I’m thrilled (smiling).

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I haven’t seen an album being as truly appreciated by music listeners as Hum Tum.
***Really? But there’s an issue with that, because it was the least appreciated album for me personally which is I think why we never did a fifth album. :( Had it been appreciated maybe the way the first three albums had been there would’ve certainly been a fifth album, but I got a bit dejected. :(

The first reaction I got from Junaid was, ‘yeh tumne kya bana diya hai’. I was like, ‘we’ve got to leave things behind certain things and move on. The world’s going somewhere and I feel musically I’m maturing.’

Like in Dair Ho Gayi, I couldn’t bear to hear that song when it was in its original form until I one day said , ‘no!’, so I just kept the vocals, trashed everything else and just recreated whatever’s now been created on it, and the initial reaction was, ‘What the hell is this guy up to?! (laughs) What’s he smoking?! What’s wrong with you?!’ And I was like, ‘yaar, let it go.’ But Junaid sort of backed off at that stage. Certain people were instantly like, ‘Yes! Thank God…. finally!’***

Vital Signs also have to its credit the maximum number of guitarists that have played in a band. From Nusrat (via Salman, Rizwan and Amir Zaki) to Asad Ahmed you have had five axe men playing for you. How has your experience been playing with some of the best guitarists around?
You don’t play with guitarists, you play with personalities. A personality brings a lot to a band - it brings a lot of color, brings interaction, brings harmony, and brings the bonding that is required and if somebody’s a whiz kid on the axe but the personality just doesn’t go with it, you’re not in the same.

Without taking names, if a person felt he was just too good for this kind of music and he could not sell 500 albums and there’s a problem with the band that sold millions and is playing simple music.

Sometimes complicated music or being a better musician does not necessarily mean you’re more successful. They’re so many bands out there in the West who’ve sold millions of albums and there are maestros of music who haven’t sold a single album. So its respect - a mutual respect. I think I find that respect totally with Assad Ahmed. Not to take anything away from the others - Amir Zaki; you can listen to him two nights in a row and not get sick of the stuff he plays.

Why the frequent change in guitarists?
To use a cricketing analogy here, if I feel that I’m a really good cricketer, an all-rounder and I’m stuck with ten idiots who just don’t know what it’s all about, I’m going to lose because of them and could be better off without them.

In a band its teamwork; it’s not about individuals. If I don’t fit into that team of people who might be doing pretty well and winning every match they’re playing I cannot feel negative about them. Teamwork is different; you need to work with them. These issues came up with some people, which is why we never evolved with them.

There were some people who stayed as team members. There were mediocre players, but they had what can be termed as serious personal issues. For example, if a person is spaced out and isn’t playing when he’s supposed to play. Or he’s had too much to drink and we’re asking him why he was drinking before a show. Your own little rules and regulations. These issues were there and that’s why we rotated a lot. Somebody got a job and had to leave. So it’s really sad that we never stuck to a fourth guitarist.

I think the financial and economic angle had something to do with it. When Salman left, and the thing that I did not like his playing or whatever is far from the truth, he was replaced by Rizwan who initially was a full time member but then was put on a contract. He was a session musician.

So when the Pepsi contract somehow came about, the pie got distributed three ways rather than four, because Shahi, Junaid and myself felt that Rizwan had not been there from day one, so any subsequent member would get paid on from the moment he had started contributing. It was a complicated formula that we used to divide the money, so it was more like there were three directors and one employee - that’s how the band operated. That always left the fourth guy feeling he was not really part and parcel of the big picture, and I remember on numerous occasions I had meetings with the band members saying we should do way with it because this isn’t good for the band.

It was initiated, I believe, when Amir Zaki was there, the resistance was high... but it didn’t work out and the band disintegrated in any case. Today, it’s just the three of us left together, that’s how it’s perceived as. Rizwan is just a session musician who comes in when he’s needed or Assad will play or whoever; the fourth member will just be a shadowy figure.

A lot of people would like to know why Amir Zaki parted ways with the Signs. Many VS fans feel a guitarist with a stature of Zaki would have contributed to the band. What is your opinion?
No, I don’t think he left the Signs. The band didn’t really end. Amir Zaki was the last guy we were playing with before we stopped playing, and the end of the band came about when I started Pyramid and got busy in it. There were just a couple of concerts in between, and Amir must have moved on to do what he wanted to do because everybody moved on. We got back together for a few gigs and we hired whoever we thought was right and that was it.

How do you feel about corporate sponsorships? Should an artist compromise his/her art to make ends meet?
Absolutely. You see, with each unique situation come unique opportunities and you have to adapt. If you don’t adapt you don’t survive. I know for a fact that all people who criticize corporate sponsorships only do so till they have it themselves. It’s a case of sour grapes. Before they get it they’ll be like, ‘We’ll never compromise’ and as soon as they get one they’ll say, ‘Where do we have to sign? What do we have to do?’

Obviously, everybody is growing up, everybody has responsibilities, they make money but there’s a way to work around it; where you allow them to walk over you and where you don’t. Finding the balance is an art in itself, it’s a performance.

You have to fit in with the corporate culture, because you fight them tooth and nail, you’ll realize you’re hurting yourself. Because in the absence of a record label, when EMI collapsed, Pepsi is the one who took over and did for us what any other record label would not have done. They pushed our albums, pushed our faces, got that recognition going and took nothing away from our music. We were absolutely free to do whatever we wanted.

They didn’t interfere with your music at all?
No, except that they wanted a patriotic song. It ties in with their strategy of connecting their product with Pakistan. And, why not? They’re not asking you to sing an Indian national song. So if you see it in context, some of the best patriotic music has come out because somebody wanted it to happen.

*It’s okay if somebody from PTV asks me to make a national song for Independence Day, but if Pepsi’s Marketing Director asks me to, the newspapers will be saying the next day, look at what they’ve done, they’ve sold themselves out. Sold what? He’s asking you to make a patriotic song. *

I think columnists should take note of the fact ke acha kaam karwarahe hain. They’re not asking you to write a song about how bad this place is. It’s like the classic case of whether the glass is half empty or half full, and I certainly think its half full when it comes to corporate sponsorships.

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Do you feel that the jingles you made for Pepsi, you were compromising yourself?
*Not at all. We don’t live in a bubble. Everything in this world is driven by commercialism, isn’t it? Do you think that Madonna, Michael Jackson or Britney Spears sold out? No - they’re driven by commercialism. They’re driven by what they get in return. *

Why do people appear on fashion magazine covers and talk shows? Are they selling themselves out? No, it’s driven by the media and commercialism. So it’s a very conscious decision.** People who live in a bubble, quite a few, no actually, some journalists who have a war against this, I know their rates to write stuff. [ouch] It’s not much for any corporate client to go, ‘yaar, aik pro article likh do, here’s your paycheck’ and that particular person will write whatever you want.** Is he not driven by commercialism and economics? We’re just sort of capitalizing on popularity that people have given to us, not that particular person.

So, jingles? What’s wrong with singing a jingle in a shortened manner and associating it with that product? I’m sure on the flip side you can say that they’ve sold out or the purists would never do that.

I remember Police had this ad - ‘don’t stand so close to me.’ It was a deodorant ad that I saw in England and I laughed and laughed. I thought the best thing Sting could have done is give that song for a deodorant commercial. I thought it was excellent.

Some people enjoy attacking commercialism.
Yeah. If you want to attack something, attack TV channels who show ads between the really good dramas. Without advertising, there is no television. In fact, without advertising there would be little music in this country.

You don’t get royalties here. It’s started to develop now, back in our time, we didn’t have that. We had to eat, we had to survive or the only choice we had was to pack up, find a job and forget the music. I think we definitely opted for the better choice and I’d do it again. I don’t care about these theoretical purists who themselves are on a payroll.

Do you miss the old Vital Signs days or are you happy with how things are now?
Parts of it, yes, and parts of it, no. It was always different for me because I was the youngest of the lot and had the most responsibilities; I had three kids. The lifestyle with Signs was something like you’re a king for a month and a loser for the next three months.

We were kids; we used to get money we couldn’t believe. I'd blow it away on stupid things... my wife was more practical. She's been the constant backbone of keeping. I think there would've been no Signs if she hadn't have been there because she'd get me going; put a sanity check on things. She was more practical with things like school fees, etc.

It was a very random income and that’s why I opted for a very stable sort of return on investment. So what I don't miss are those moments when there were no shows coming in and all.

One thing I'd never, ever give into were those functions. I'll tell you something, the reason Vital Signs developed such a difference gap was because Junaid started doing functions. From day one I had told him that I would not do those. The few that I went to initially, I was like, that’s it.

I'll describe what functions are. Functions are where people come for whatever reason they come, and there's a band playing there; with people commenting, 'acha haan yeh woh larke hain, haan aik gora hai, aik patla hai, aik kaala hai'. A concert is where you're advertised as the act and people by choice buy tickets to see you play.

In functions, people don't really have a choice. You go there and sing three songs and there are four other bands waiting to play their four songs. I said, no way, I'll starve, but I will not degrade myself to this.

*I don't take away anything from people who do it, I just personally thought it was an absolute insult to do that. Junaid said that, okay, I'll go with another band, sing a few Signs songs, pocket fifty thousand bucks and come home. He continued doing that and I said to Shahi, I can't believe he's doing that. I guess uski thinking different thi, so we never did that. The concept began to change; these functions started happening. So the income was very random and that’s what started causing problems. *

It was a really tough life. I remember, during the second album, we were stuck in Karachi, there was no way to go back to Islamabad and the album wasn't finishing. Didn't have money, didn't have food and I borrowed 200 bucks from a cousin and got broast - it had come down to that. I said, 'what are we going to do?' It was that bad.

There were a couple of good people in my life who kept pushing me. Arshad Mehmood is one of them. He'd say, 'nahi, hojaye ga, theek hojayega'. He used to pick me up everyday, take me to EMI, and drop me back. Junaid got a job, left, said the band's over, Shehzad's mother was ill so he had to go. So I was left alone in the studio working on the second album - the most depressing time of my life!

We finished it, launched it; and suddenly Pepsi came out of the blue and things changed. Otherwise, that was the end. If Pepsi hadn't come in the band was over. I don't think we would've even launched the second album.

*Why didn't anyone come in to fill the gap of a record label after EMI collapsed? *
People did come in to fill the gap but there is such a shady system here. They don't give royalties, or an upfront. Ab to upfront ka rivaaj chal para hai. Soundmaster, Sadaf etc are there and are now looking after the artiste, because they've realized that until the artiste isn't happy, what business will we run?

You have to keep pumping money into the artiste, in return they'll keep giving you good music. Thank God, the record labels have now understood this concept. At that time, it was like, ye bachey hain, inhon ne album banayi hui hai, lets squeeze them for every last bit we can.

A few changes were made in between, people tried to make a difference, a friend Shehzad, may his soul rest in peace; he died, he tried his level best... but distributors, the whole industry...its a sham. Now, I feel that it has changed. It’s sad really, because we have a much larger market for music than in India.

Ever thought of setting up a record label?
Hmm... it’s something I should do. Good idea.

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Removed

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Re: a Pakistani pioneer

dude the link is right there. click on it and be enlightened.