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Meri awaaz suno

Struggle, self-discovery, experiment, evolution and success. The making of Pakistan’s biggest musical phenomenon of the ‘90s has experienced it all. From a little known group of passionate musicians who captivated an elitist audience to becoming indigenous idols who are now mobbed by the masses, junoon has grown from one man’s passion to the obsession of millions.

The junoon of 1998 is the embodiment of guitarist-composer Salman Ahmes’s belief in all-new sound; a belief which led him to abandon the premier pop band Vital Signs at a time when the band ruled the charts. Merging creative forces with ex-‘Jupiters’ powerhouse vocalist Ali Azmat, and joined by Another ex-Vital sign member, Nusrat Hussain, Junoon made rock-influenced music, Which only six people turned up to hear at their debut concert. Mass audiences in Pakistan had little appreciation for their initial Led Zeppelin-Aersomith-Van Halenised brand of music.

Critically acclaimed, but commercially dismissed, the band’s first two albums, Junoon and Talaash, did not make an impact in a pop music dominated environment which was thriving on monotonous tunes. Meanwhile, bassist Brian O' Connell, a childhood friend of Salman’s from New York, shifted base to Karachi and replaced Nusrat in the band. Mass appeal, however, still eluded the trio.

Their 1996 song of hope, Jazba-e-Junoon, recorded for the 1996 Cricket World Cup, Bought them their first flush of success. This was a new Junoon sound, very different in lyrical content and character to their previous music. Showcasing relevant social and political issues, spirituality and patriotism, they now spoke a language which had universal appeal. In fact, the issues acquired a hard-hitting edge when vocalised with their innovative brand of mystic fusion music: progressive political rock welded with the regional folk elements of Pakistan, qawwali rhythms and Sufi poetry. Their musical influences shifter towards the inspirational works of Pakistani artistes such as ustad Nusrat Fateh Ali Khan and Abida Parveen.

Junoon’s landmark third album, Inquilab, established them as musicians with a conscience whose creativity transcended boundaries. "The socio-political turmoil, Economic disparity and corruption are so vivid in Pakistan that by pretending that all’s well, and singing love songs, we would only be fooling ourselves, " felt Salman. Hence came Iitejah, Saeein and Ehtisaab, songs potent with questions of spirituality and societal justice. Their electrifying live purformances across Pakistan, as well as in the UAE and the US, by now drew huge crowds. The disillusioned, angst-ridden Pakistani youth in particular identified with their music as an introspective experience and expression of identity, a development which did not go down too well with the "powers that be" in Pakistan.

While celebrating their New York gig, newsweek eulogised, "Junoon’s unabashed patriotism has made it one of the few thing the fractious nation (Pakistan) can agree on. "The ruling elite how ever, sensed potential danger in this growing force and imposed ambitious ban on the band in Pakistan on the pretext that Junoon was harming the spirit of the local culture. In literal terms, it translated into the group being skunned by the national television as well as by other state-controlled media.

Thought their beliefs and music uphold the essential right to freedom in all its forms, Junoon thrives in an environment that seldom encourages liberation of the mind and soul. "Being a musician in a Third World country has given my writing and music a creative tension that I would not have had in more affluent set-up," admits Salman. However, the mounting "official" pressures threatened to limit their growth and last year, they sought to expend their international presence.

While the Pakistani establishment refused to acknowledge their talent as national assets, the eclectic trio found many takers abroad. In the early part of 1997, Junoon toured the US and impressed the local media with their mesmerising act. Over the summer, they recorded and released Azadi; their latest album, which garnered little commercial success in Pakistan but went platinum in record time when released internationally.