VA - Pakistan ~ Folk & Pop Instrumentals 1966-1976 2xLP [Sublime Frequencies, 2010]

SF064

A1 - The Panthers - Malkaus
A2 - The Mods - Spring Dance
A3 - The Bugs - Theme from Do Raha
A4 - The Blue Birds - Hussani Lal Qalander
A5 - Sohail Rana - The Khyber Twist

B1 - Nisar Bazmi - Aesi Chal Main
B2 - The Abstracts - Mahiya
B3 - The Fore Thoughts - The Boat Man's Cry
B4 - The Panthers - Simmi Dance
B5 - The Aay Jays - Lal Qalandar Lal
B6 - The Mods - Bondure

C1 - The Panthers - Bhairvi
C2 - The Abstracts - Sindhi Bhairvin
C3 - The Fore Thoughts - Shahbaz Qalander
C4 - The Aay Jays - Mirza Ki Dhun
C5 - The Mods - Garba Dance
C6 - Nisar Bazmi - Pyar Ki Ik Naee

D1 - The Aay Jays - The Aay Jays Theme
D2 - The Abstracts - Lotus Flower
D3 - The Panthers - Khatak Dance
D4 - The Fore Thoughts - Jungee
D5 - The Blue Birds - Sun We Bilou Akh Waliya



'Spending the greater part of the last decade assembling this masterpiece while tracking down most of the musicians in the process, Stuart Ellis of Radiodiffusion Internasionaal has compiled a mind-blowing set of Pakistani instrumentals spanning the period between 1966 and 1976. It’s all here: rock and roll beat, surf, folk traditional mixed with pop, film tunes, electric guitars, sitar and organ solos, brilliant percussion and arrangements crafted by the grooviest bands of the period: The Panthers, The Mods, The Bugs, The Blue Birds, The Abstracts, The Aay Jays, The Fore Thoughts, Nisar Bazmi, and Sohail Rana.

Situated between Afghanistan, India and Iran, the collision of cultural influences in Pakistan gave birth to music that was, and still is, unlike anything heard anywhere else on the planet. By the late 1960s, previous restrictions on musical expression began to soften and bands that were playing American and British pop covers became popular in Karachi’s burgeoning night club scene and at private dance parties. Long hair came into fashion among young men and hashish became the popular drug of choice on college campuses across Pakistan. Soon, hippies from both North America and Europe began flocking to Karachi, Lahore and Peshawar. Very few of the bands that formed during this time actually got to record. Like their neighbors in India, the Pakistani record industry was more focused on releasing 'filmi' music, which had just started to incorporate the electric guitar and electric sitar.

Pakistan’s musical revolution ended in June 1977 after a coup d’état and the establishment of a pure Islamic state governed by Sharia law. This marked the end of the “Swinging ‘70s” in Pakistan as night clubs and alcohol were banned throughout the country. Television and cinema, as well as popular music, were now subjected to government censorship. After the clamp down, many Pakistani musicians left the country and moved to America, Canada and England. The audio quality here is top notch, sourced straight from the original EMI Pakistan masters' ~ sf

buy or cry

: download link removed by eloquent request :

stellar ish here kids & funny how many of these nuggets i recognize from filmi & more traditional strains. pakistan is a fascinatingly rich kulture & sublime frequencies continue to raise the bar with this superb comp of timeless jams. trippy to hear the fore thoughts 'shabaz qalander' featuring the same melody as dama dam mast qalander. gotta wonder which came first. tafo bros seem like obvious birds of a feather. recommended fer repeated glistening

Inedit - Pakistan. Abida Parveen - Sufi Chants

Inedit - Pakistan. Abida Parveen - Sufi Chants (Chants soufis): qâul, ghazal and kâfî
Inedit W 260003, recorded in Genève 1994, CD released 2001

Through her voice accompanied by the harmonium and the dholak and tabla drums, the Pakistani diva imparts the mystical passion of the great Sufi poets.
After the qal (creed) composed by Amir Khusrau (13th century), Abida Parveen performs several ghazal and kafi which made her great celebrity

Ustad Nathoo Khan - Sarangi LP [EMI, 1972]

Side 1: Raag Purbi (25:50)
Side 2: Raag Madhuvanti (26:02)

Ustad Nathoo Khan, sarangi
Eidoo Ajmeri, tabla

The Sārangī [सारंगी] is a bowed, short-necked string instrument of India, similar to a fiddle. It plays an important role in India's Hindustani classical music tradition. Of all Indian instruments, it is said to most resemble the sound of the human voice – able to imitate vocal ornaments such as gamakas [shakes] and meend [sliding movements]. It is also said to be the hardest Indian instrument to master.

The word sarangi is derived from two Hindi words: sau (meaning "hundred") and rang (meaning "colour"). This is because the sound of the sarangi is said to be as expressive and evocative as a hundred colours. Its origins are unknown, however most people believe that it became a mainstream instrument in the mid 18th Century. Notoriously difficult to play and tune, the sarangi has traditionally been used primarily for accompanying singers [shadowing the vocalist's improvisations],in recent times it has become recognised as a solo instrument...

another emi record & precisely the prescription my brainstem needs to zone out. thanks to arvind & zwan for illumination. further

The Baluchi Ensemble of Karachi ~ Love Songs & Trance Hymns

1. Jamalu
2. Nalan Pa Dustan and Aref Kasani
3. Three Festive Songs
4. Man Morad Salunk Siri and Wash Tara Bolbol
5. Zamoran Tange
6. Molka Nanenda Mani Dust
7. Lashare Kora (The River of Lashare)
8. Lilo Lil Kana Shabaz
9. Two Trance Songs



Baluchi Ensemble Of Karachi: Rahima [vocals]; Molabakhsh Nuri [vocals, tanburag]; Mobarak [benjo]; Faqir Zangeshahi, Karimbahhsh Soruzi Nuri [suroz].
Additional personnel: Ali Mohammad Zangeshahi, Sahebi [vocals]; Kheyru [doholak]; Feyzu [tanburag]. Recorded in Malir, Pakistan in February 1996 by Jean During.

'Hailing from a stateless area between Pakistan, Iran, and Afghanistan, the Baluchi Ensemble of Karachi incorporate Indian and Arab influences into their Middle Eastern gypsy style music. Performing mostly at weddings and social events, the group remains tied to the Persian bardic tradition, but produce a trance-inducing sound that is hypnotic, yet as fragrant as perfume. Accompanied by benju [a dulcimer with keyboard], tambureg [lute], and dholak [a type of Indian tanbur drum], the suroz [a lap fiddle made of wood with a goat skin as its sounding board] remains the dominant voice of the Baluchi Ensemble of Karachi. Love Songs and Trance Hymns, the Baluchi Ensemble of Karachi's 1997 album, was recorded in the Baluchi Quarters in Karachi, Pakistan'. ~ amg

it's common knowledge that we can't get enough of the singular Balochistan sound, there's just nothing else quite like it. the suroz fiddle is an extremely evocative instrument with a strange hypnotique power that i find totally addictive. this is the second Shanachie publication from the region we are fortunate enough to have here. 320 agradecimientos a Miguel querido hermano por compartir este tesoro inefablemente magnífica

M. Ashraf & Nahid Akhtar ~ Uf Yeh Beevian 10" [OST, 1977] Finders Keepers

A1 Nahid Akhtar - Aesi Chalo Na
A2 Nahid Akhtar - Mere Hote Howe
A3 Nahid Akhtar - Dilbar Dilbara

B1 Nahid Akhtar - Mera Mehbob Hai
B2 Nahid Akhtar - Per Kahin Ankh
B3 Mehdi Hasan - Zinda Rahe
B4 Tafo Brothers - Mera Mehbob Hai [Instrumental Version By Tafo Bros]



Nahid Akhtar & Tafo Bros as composed by M. Ashraf. this one goes out to will from Journey Round My Skull as i know Ms. Akhtar to be among his favourite singers. respekt

Mystic Fiddle of the Proto-Gypsies ~ Masters of Trance Music

[Shanachie, 1997]

01 Suite of Damâli Pieces ~ Ramazan
02 Suite of Damâli Pieces ~ Yaru Maliri
03 Two Qalandari Tunes ~ Yaru Maliri
04 Shidi Sâz - Udrusi & Bombasa ~ Ramazan
05 Suite of Damâli Pieces ~ Yaru Maliri
06 Shâh Batha'i ~ Yaru Maliri

not to be missed if you dig any of the 60's minimalist droney doods like Tony Conrad, Henry Flynt & the like. to me this is far more interesting than all that mess but i aint knockin no one, quite the contrary. a transcendentally transportational suroz fiddle record comin str8 outta balochistan ;D these cats are keepers of the drone like someone else said. i want to say with confidence that these are indeed field recordings made in the 90's but that would be presumptuous of me. for owl i know these ditties were recorded in a high-tech balochistan studio ;D righteous repetition to lose yrself in. 320 blessings upon the og uploader

VA - Music of Makran ~ Traditional Fusion from Coastal Balochistan [Topic] recordings by Anderson Bakewell, 1991

Music from Makran, Baluchistan, Pakistan
Anderson Bakewell field recordings
Recording date: 1991.11
Recording location: Gwadar, Makran, Balochistan, Pakistan

1. Sheki Saz (Recorded In Karachi)
2. Gwati Saz (Recorded In Gwadar)
3. Lilo (Recorded In Pishukan)
4. Sot / Sheyrwandi / Gwati Saz (Recorded In Pasni)
5. Zahirok (Recorded In Panjgur)
6. Zahirok (Recorded In Karachi)
7. Bagey Saz / Simorgey Saz (Recorded In Gwadar)
8. Sheki Saz (Recorded In Pasni)
9. Zahirok / Sot (Recorded In Jiwani)
10. Gwati / Sot (Recorded In Pishukan)
11. Shwanagi Saz (Recorded In Gwadar)
12. Zahirok (Recorded In Pasni)
13. Nach Saz (Recorded In Jiwani)



The remote coastal area of Balochistan called Makran is the setting for a fusion of musical cultures from the Middle East, Indo-Pakistan and Africa, which have developed over centuries into a tradition of great intensity and beauty. The Baloch ethnic group stretches across modern national boundaries. Their traditional homeland, Balochistan, extends throughout Pakistan's Balochistan province, Iran's Sistan and Balochistan provinces, and nearby portions of Afghanistan. Balochs also reside in the Arabian Peninsula and East Africa. Baloch music can be roughly divided in terms of three geographical regions: eastern Balochistan, central and northern Balochistan, and the coast of Balochistan. On this release, Music of Makran: Traditional Fusion From Coastal Balochistan, the tracks are drawn from Makran, a dry and hilly tract of coastal Balochistan that stretches between the Persian Gulf and India along the Arabian Sea. The 13 tracks herein encompass a diverse mix of sounds. The end-blown donail double flute, vertically played suroz fiddle, long-necked damburag lute, and a host of other instruments transmit trance-inducing sounds and soothing melodies in a variety of musical forms. These include instrumental shepherd paeans, ceremonial recitations, love songs, wedding and circumcision music, and mythological tunes. Much of this selection is drawn from the repertoire performed during healing ceremonies.a superb offering from a stellar imprint. infinitely rewarding & ever worthy of repeated listening. if you dig fiddle tunes, this one's a no-brainer. find out if you don't know. 320 daps to arcturus