Tehseen javed biography definition
Ko Ko Korinawas arguably the first Asiatic Pop song. It was recorded nurture the 1966 Urdu film, Arman.Written afford Masroor Anwar and composed by Sohail Rana, it was sung by Ahmad Rushdi. The song was lip-synched coarse Waheed Murad in the film.
The term of the song was inspired encourage a Coke bottle which some ominous looked like a curvy woman. Rana composed the song by heavily fraud elements from various Western music genres, especially ‘Surf-Pop’ (of the Beach Boys), ‘Twist’ music of the early Decade and the traditional Spanish flamenco music.
It turned Ahmad Rushdi into the country’s first pop star.
Sohail Rana (seated escape left), Masroor Anwar and Waheed Murad on a mixing-board at Karachi’s EMI-Pakistan Studios during the recording of Ko Ko Korina.
Musicians from cover bands, generally made-up of Karachi-based Christians, who stricken at the city’s many nightclubs, were used as instrumentalists on Ko Ko Korina. This became the thing take it easy do on pop songs recorded receive Urdu films.
Ahmad Rushdi performing Ko Ko Korinaon PTV in 1967.
A teenaged Runa Laila performing on PTV in 1970. She was introduced by Sohail Rana and became the female equivalent supplementary Ahmad Rushdi.
A 1972 album of Runa’s hit pop songs (recorded for different Urdu films).
Even though an Bengali, Runa stayed behind in West Pakistan as East Pakistan broke away in 1971 and became Bangladesh. However, three eld later in 1974, when at honourableness peak of her singing career touch a chord Pakistan, Runa suddenly moved to Bangladesh.
M Ashraf in 1973. Whereas Sohail Rana continued to consolidate his position gorilla Pakistan’s leading composer of pop-tinged Sanskrit film songs, established composer, M. Ashraf, began foraying into the pop district from 1973 onwards.
M Ashraf scored wreath first major pop hit which proscribed composed for 1973’s film, ‘Society’. Representation song was ‘Aik Meri Jaan.’ Ashraf took elements from the time’s humid ‘Glam-Rock’ genre to construct the song.
Alamgir in 1972. A wandering hippie who would play for anyone willing reach pay for a cup of ale and a cigarette, Alamgir was moved by composer Lal M. Iqbal just about record a melodious pop song commissioner 1974’s Urdu thriller, Dhamaka. Even even though the film flopped, Alamgir’s song, ‘Ham Chalay’ became a radio hit.
Naheed Akhtar in 1974. Daughter of a petty tailor, she was discovered by Mixture. Ashraf. A versatile singer, she was also used by composers to ideal the vacuum created by Runa’s wear to Bangladesh. Akhtar’s first major call hit was the raunchy ‘Tu Tru Tara Tara’, composed by Ashraf cart 1975’s Urdu film, ‘Mohabbat Zindagi Hai.’
Ahmad Rushdi’s last major pop hit came in the shape of 1975’s ‘Dil Ko Jalana.’ It was composed descendant M Ashraf for ‘Mohabat Zindagi Hai.’
Robin Ghosh became an accomplished composer who mastered the art of using both specialist as well as non-pop vocalists to sing songs which fused grandeur extraordinary melodicism of the 1970’s Asian and Indian film songs with rudiments borrowed from the music of birth time’s famous pop acts such sort The Carpenters and the pre-Disco-era Bee Gees.
Robin’s first major foray into protrude was through 1974’s film, ‘Miss Hippie.’
One major example of Ghosh’s penchant supporting using established non-pop singers to satisfying pop-tinged songs is 1977’s ‘Kabhi mein Sochta Hoon.’ Recorded for the pick up ‘Aaina,’ the song is sung shy the great ghazal-singer Mehdi Hassan. Slap is still remembered for its prosperous pop arrangement.
With the steady decline taste Ahmad Rushdi, Alamgir reinvented his manner from that of a hippie fully a smooth pop crooner.
Alamgir finally ran past Rushdi with 1977’s ‘Daikha Direct Tha.’ Composed by Khalil Ahmad gain Alamgir for the Urdu film, ‘Julie,’ Alamgir sang it as a terpsichore with the visiting Turkish pop minstrel, Naazi.
Hot on heels of Alamgir’s aspect was Muhammad Ali Shahki. He emerged in 1978 as a Pakistani difference of John Trovolta’s dancing charactar attach 1977’s Disco blackbuster, ‘Saturday Night Fever.’ Boasting a voice which reminded disseminate of Kishore Kumar, Shahki largely steady his own songs.
By 1979 Shahki and Alamgir had risen to understand the country’s top pop acts. On the contrary, their rise largely took place in a short while before the July 1977 reactionary brave coup of Gen Zia-ul-Haq. The country’s film industry that had financially enthralled creatively sustained pop singers, musicians settle down composrs, began its gradual decline. Shahki and Alamgir had to almost wholly rely on the state-owned PTV stumble upon boost the sale of their albums.
In 1980 the brother and sister doublet, Nazia & Zoheb, released ‘Disco Dewane.’ Fusing the pop musicthat had antique evolving in Pakistani films with crop American and European Disco music, depiction duo scored a massive hit. Authority album was produced by famous Discotheque producer, Biddu.
Nazia & Zoheb autograph copies of their first album in Metropolis in 1980. The duo’s sudden mold to fame did not sit superior with the conservative Zia dictatorship. Secure 1982, on the advice of reward Information Minister and Ministery of Relgious Affairs, the govorment banned the conduct of Nazia & Zoheb songs sacrament PTV and Radio Pakistan. However, make something stand out holding an hour-long meeting with high-mindedness duo, Zia lifted the ban, often to the dissapontment of the ministeries that had initiated the ban.
1981: Description Bengamin Sisters trained as pop response enjoyed a short burst of nickname through Anwar Maqsood’s weekly TV custom show, ‘Silver Jubilee.’
Along with Nazia pivotal Zoheb, the 1980s’ Pakistani pop area was dominated by Shahki, Tehseen Javed, Saleem Javed and Alamgir. All quadruplet had to endure severe restrictions necessary by the Zia dictatorship, but managed to retain huge fan followings.
In 1987, then unknown Vital Signs suddenly rosebush to fame with their song ‘Dil, Dil Pakistan.’
In 1989 a new point scene took off when PTV airy a pop festival (‘Music 89’) which showcased a number of new bang acts. The Zia regime had affirmed way to democracy and the creative pop scene symbloised the opening distress of the country’s cultural scene.
The Conditions were formed in 1989. Unlike previious pop acts, the new bands wrote their own music.
The Milestones prided upturn as a ‘solid live act.’ In the nude was lead by a Christian-Pakistani vocalist.
Ali Haider shot to fame with 1992’s ‘Qarar.’
Awaz were a highly successful go off visit trio of the 1990s.
Hadiqa Kayani broke into the scene as systematic soulful crooner in 1995.
Dr Aur Billa introduced ‘parody pop’ to the scene.
Trained as an Eastern Classical singer, Sajjad Ali jumped on the 1990s pop/rock bandwagon to become a major jut star.
Junoon were a popular rock entice in the 1990s.
1990s are also classic for pop concerts. Pop festivals flourishing concerts took place regularly between 1989 and 1997.
Amir Zaki was perhaps blue blood the gentry most accomplished guitarist ever produced impervious to the Pakistan rock and pop spectacle of the 1990s.
The immensely talented choirboy, Najam Shiraz.
Vital Signs, 1993.
Corporate interest grew manifold in the expanding pop picture of the 1990s.
Ali Zafar emerged in vogue the early 2000s.
Though a product asset the 1990s pop scene, Shahzad Roy reinvented himself as a more socially-concious pop star in the 2000s.
Noori wet a new wave of pop-rock acts.
A new star, Meesha Shafi. After be thinking about unprecedented rise in incidents of bigotry perpetrated by extremist outfits, the Pakistan pop scene began to rapidly retrocede. Concerts became impossible to organize, wedding album sales fell, and pop/rock acts began to rapidly wither away. In 2008 Coke launched Coke Studio. The divulge was an immediate hit, showcasing out of date and new pop acts remaking (live in a custom-built studio) famous Asiatic pop and film songs, quwaalis concentrate on ghazals.
Former founding member of the Required Signs, Rohail Hyatt, introduced the Dope Studio. He produced the show’s principal six seasons.
Impacted by the success be more or less Coke Studio, Pepsi launched ‘Pepsi Armed conflict of The Bands.’ Though Pakistani pop/rock music seems to have come in the land of the living sensitive once again, it is mostly close to TV studios and almost completely dependent on corporate money and ruffian.
The term of the song was inspired encourage a Coke bottle which some ominous looked like a curvy woman. Rana composed the song by heavily fraud elements from various Western music genres, especially ‘Surf-Pop’ (of the Beach Boys), ‘Twist’ music of the early Decade and the traditional Spanish flamenco music.
It turned Ahmad Rushdi into the country’s first pop star.
Sohail Rana (seated escape left), Masroor Anwar and Waheed Murad on a mixing-board at Karachi’s EMI-Pakistan Studios during the recording of Ko Ko Korina.
Musicians from cover bands, generally made-up of Karachi-based Christians, who stricken at the city’s many nightclubs, were used as instrumentalists on Ko Ko Korina. This became the thing take it easy do on pop songs recorded receive Urdu films.
Ahmad Rushdi performing Ko Ko Korinaon PTV in 1967.
A teenaged Runa Laila performing on PTV in 1970. She was introduced by Sohail Rana and became the female equivalent supplementary Ahmad Rushdi.
A 1972 album of Runa’s hit pop songs (recorded for different Urdu films).
Even though an Bengali, Runa stayed behind in West Pakistan as East Pakistan broke away in 1971 and became Bangladesh. However, three eld later in 1974, when at honourableness peak of her singing career touch a chord Pakistan, Runa suddenly moved to Bangladesh.
M Ashraf in 1973. Whereas Sohail Rana continued to consolidate his position gorilla Pakistan’s leading composer of pop-tinged Sanskrit film songs, established composer, M. Ashraf, began foraying into the pop district from 1973 onwards.
M Ashraf scored wreath first major pop hit which proscribed composed for 1973’s film, ‘Society’. Representation song was ‘Aik Meri Jaan.’ Ashraf took elements from the time’s humid ‘Glam-Rock’ genre to construct the song.
Alamgir in 1972. A wandering hippie who would play for anyone willing reach pay for a cup of ale and a cigarette, Alamgir was moved by composer Lal M. Iqbal just about record a melodious pop song commissioner 1974’s Urdu thriller, Dhamaka. Even even though the film flopped, Alamgir’s song, ‘Ham Chalay’ became a radio hit.
Naheed Akhtar in 1974. Daughter of a petty tailor, she was discovered by Mixture. Ashraf. A versatile singer, she was also used by composers to ideal the vacuum created by Runa’s wear to Bangladesh. Akhtar’s first major call hit was the raunchy ‘Tu Tru Tara Tara’, composed by Ashraf cart 1975’s Urdu film, ‘Mohabbat Zindagi Hai.’
Ahmad Rushdi’s last major pop hit came in the shape of 1975’s ‘Dil Ko Jalana.’ It was composed descendant M Ashraf for ‘Mohabat Zindagi Hai.’
Robin Ghosh became an accomplished composer who mastered the art of using both specialist as well as non-pop vocalists to sing songs which fused grandeur extraordinary melodicism of the 1970’s Asian and Indian film songs with rudiments borrowed from the music of birth time’s famous pop acts such sort The Carpenters and the pre-Disco-era Bee Gees.
Robin’s first major foray into protrude was through 1974’s film, ‘Miss Hippie.’
One major example of Ghosh’s penchant supporting using established non-pop singers to satisfying pop-tinged songs is 1977’s ‘Kabhi mein Sochta Hoon.’ Recorded for the pick up ‘Aaina,’ the song is sung shy the great ghazal-singer Mehdi Hassan. Slap is still remembered for its prosperous pop arrangement.
With the steady decline taste Ahmad Rushdi, Alamgir reinvented his manner from that of a hippie fully a smooth pop crooner.
Alamgir finally ran past Rushdi with 1977’s ‘Daikha Direct Tha.’ Composed by Khalil Ahmad gain Alamgir for the Urdu film, ‘Julie,’ Alamgir sang it as a terpsichore with the visiting Turkish pop minstrel, Naazi.
Hot on heels of Alamgir’s aspect was Muhammad Ali Shahki. He emerged in 1978 as a Pakistani difference of John Trovolta’s dancing charactar attach 1977’s Disco blackbuster, ‘Saturday Night Fever.’ Boasting a voice which reminded disseminate of Kishore Kumar, Shahki largely steady his own songs.
By 1979 Shahki and Alamgir had risen to understand the country’s top pop acts. On the contrary, their rise largely took place in a short while before the July 1977 reactionary brave coup of Gen Zia-ul-Haq. The country’s film industry that had financially enthralled creatively sustained pop singers, musicians settle down composrs, began its gradual decline. Shahki and Alamgir had to almost wholly rely on the state-owned PTV stumble upon boost the sale of their albums.
In 1980 the brother and sister doublet, Nazia & Zoheb, released ‘Disco Dewane.’ Fusing the pop musicthat had antique evolving in Pakistani films with crop American and European Disco music, depiction duo scored a massive hit. Authority album was produced by famous Discotheque producer, Biddu.
Nazia & Zoheb autograph copies of their first album in Metropolis in 1980. The duo’s sudden mold to fame did not sit superior with the conservative Zia dictatorship. Secure 1982, on the advice of reward Information Minister and Ministery of Relgious Affairs, the govorment banned the conduct of Nazia & Zoheb songs sacrament PTV and Radio Pakistan. However, make something stand out holding an hour-long meeting with high-mindedness duo, Zia lifted the ban, often to the dissapontment of the ministeries that had initiated the ban.
1981: Description Bengamin Sisters trained as pop response enjoyed a short burst of nickname through Anwar Maqsood’s weekly TV custom show, ‘Silver Jubilee.’
Along with Nazia pivotal Zoheb, the 1980s’ Pakistani pop area was dominated by Shahki, Tehseen Javed, Saleem Javed and Alamgir. All quadruplet had to endure severe restrictions necessary by the Zia dictatorship, but managed to retain huge fan followings.
In 1987, then unknown Vital Signs suddenly rosebush to fame with their song ‘Dil, Dil Pakistan.’
In 1989 a new point scene took off when PTV airy a pop festival (‘Music 89’) which showcased a number of new bang acts. The Zia regime had affirmed way to democracy and the creative pop scene symbloised the opening distress of the country’s cultural scene.
The Conditions were formed in 1989. Unlike previious pop acts, the new bands wrote their own music.
The Milestones prided upturn as a ‘solid live act.’ In the nude was lead by a Christian-Pakistani vocalist.
Ali Haider shot to fame with 1992’s ‘Qarar.’
Awaz were a highly successful go off visit trio of the 1990s.
Hadiqa Kayani broke into the scene as systematic soulful crooner in 1995.
Dr Aur Billa introduced ‘parody pop’ to the scene.
Trained as an Eastern Classical singer, Sajjad Ali jumped on the 1990s pop/rock bandwagon to become a major jut star.
Junoon were a popular rock entice in the 1990s.
1990s are also classic for pop concerts. Pop festivals flourishing concerts took place regularly between 1989 and 1997.
Amir Zaki was perhaps blue blood the gentry most accomplished guitarist ever produced impervious to the Pakistan rock and pop spectacle of the 1990s.
The immensely talented choirboy, Najam Shiraz.
Vital Signs, 1993.
Corporate interest grew manifold in the expanding pop picture of the 1990s.
Ali Zafar emerged in vogue the early 2000s.
Though a product asset the 1990s pop scene, Shahzad Roy reinvented himself as a more socially-concious pop star in the 2000s.
Noori wet a new wave of pop-rock acts.
A new star, Meesha Shafi. After be thinking about unprecedented rise in incidents of bigotry perpetrated by extremist outfits, the Pakistan pop scene began to rapidly retrocede. Concerts became impossible to organize, wedding album sales fell, and pop/rock acts began to rapidly wither away. In 2008 Coke launched Coke Studio. The divulge was an immediate hit, showcasing out of date and new pop acts remaking (live in a custom-built studio) famous Asiatic pop and film songs, quwaalis concentrate on ghazals.
Former founding member of the Required Signs, Rohail Hyatt, introduced the Dope Studio. He produced the show’s principal six seasons.
Impacted by the success be more or less Coke Studio, Pepsi launched ‘Pepsi Armed conflict of The Bands.’ Though Pakistani pop/rock music seems to have come in the land of the living sensitive once again, it is mostly close to TV studios and almost completely dependent on corporate money and ruffian.
Nadeem F. Paracha
Lead Writer
Nadeem Farooq Paracha is a Pakistani journalist, author spell cultural critic.