Am interesting article and was surprisingly posted on a www.defencejournal.com …
I thought I would share it with you guys!
**Junaid Jamshed
Walks on … Us rah parr
Reviewed by Misbah Khan**
Three years back a very elevated, handsome and down-to-earth young man roving in the city. Usually found at different audio recording studios looking for a harmonium to buy. I was working on my own project at a studio where he entered with an always adorable smile on his face and asked the sound engineer to show him the harmonium which he mentioned on phone. This young individual was no stranger to anyone but aerial Junaid Jamshed.
I asked him why he was looking for an eastern musical diversion. He replied, 'I believe in change, and I guess this is the time we should secure sovereignty of our own culture by exploring ourselves. After other discussions he disclosed that he has started taking classical music lessons from an Ustad.
Finally, J.J took a sway to produce his second solo album, something more unfeigned than of Vital Signs and so I couldn’t resist to hold my pen to right a good listener’s feedback. J. Jay’s new legacy to music ‘Us Rah Par’. It’s an album within earshot than ever. Most of the songs sound so canvas covered with classical raags and easternize vocal improvisation.
The title song Us Rah Par (written by Shoaib Mansoor) shows the reality of a matured combination of quality and understanding between J. J and Shoaib Mansoor. Na tu aay gi, Na hi chan Aay ga is a typical J. Jay’s type with his prominent alto shades. Roobaroo has a light flavour of blues chord topping with Aamir Zaki’s mellow guitar rhythm.
A very interesting part of this album is his friend’s contributions. Jaagi Rey is a blending of Junoon and Junaid, where Salman proclaims his presence with his effortless clean guitar rhythm. Next song Sanama Oh! Sanama, teri tasveerain another eternal composition containing elegant chords with classical grace notes (a touch of Lucky Ali) in the melody. Sanama, is specially jammed with mystical tabla taal and flute’s synchronous echo. In ankhon ne Ankhon say we find a rich mix of fantazised slapping and plucking Bass line with catchy tabla beat to enjoy at a leisurely pace evensong. In addition to this, an ingredient of this number is Saarangi. The main leading lines are controlled on Saarangi by Ustaad Salamt Ali so neatly as never before. It makes us realize that how we were missing and neglecting Saarangi as a vital colour of our music.
Le dernier cri is always a trend of J. Jay’s Music Parlour. Moreover, he has well maintained his image by presenting Chaand Nay Zra see Jhalak Dikhaee. An excellent sequencing with Fakhir’s manner of treatment including the Beat rolls (the rewinding tape effects). An outstanding deep-throated, mesmerizing vocal improvisation are the salient features of this song. It’s my prediction as a musician and a critic it will be a live concert hit of Junaid Jamshed, to accept it or not choice is yours. The lyrics and music are fused so perfectly as if they’re really made for each other. Chand Nay Zra si Jhalak dikhaee has a very interesting challenge for the local Video-Directors, Visualizers and Producers to perceive and come up with enchanted sequences of visuals.
Then comes Sahib-e-Dil, a total compensation for the Rock/Pop lovers with an ultimate vogue of new topic (far away from Gori/Sanvli, rather a counter) showing a hero’s feebleness to find the reason behind a Mystery Girl who is neither attractive nor sexy but has something in her looks to bamboozle the people’s heart. However, the engineering of the vocal track is not justified with overall blending. Even then, it’s an exceptional hit.
Another contribution Kabhi na Kabhi To! To! To!, is an assorted combination of rhythm and vocal stresses. Utter sound of this album is so premeditated that Junaid has proved to get rid of Vital Sign’s humdrum. After this album, one must accept the Medley of Melodies is Junaid’s discovery within him. This solo album is an utterance for other solo artists (in the main stream) that a little effort and too much of devotion can take you up to a distinct visibility, not the other way round, or put it this way, ‘Hum kyoon chalain us rah per, Jis Rah pay Sub hi Chalain’ Wheeze! and ooups! for the doomed ‘Charba Followers’…