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.

In a bold departure from their previous style, Junoon replaced the kit drum with regional folk instruments the table and dholak – on Azadi, which accompanied the electric and string acoustic guitars, "Our music has progressed from album to album," explains Brian. "It’s a natural progression, a growth. We have grown both as human beings and artisties. I think once we categories ourselves, we kind of limit ourselves as far as artistic expression goes." 

As far as the sonic departure on Azadi goes , "we noticed how uniquely the Western audiences tuned into the sound of the table. And, on Azadi, we decided to showcase our tabla player Ustad Ashiq Ali’s immense potential by making him chief rhythmic element," continuos Brian. "I found it very challenging to play in that set-up."

Following Azadi’s release, Pakistan’s best live act again met success while on a seven city-tour of the US. The New York Times described their music as an unpretentious blend of the East and the West . Concerts in the UAE and India followed, the latter securing them a newer and bigger fan base.  

However, after their Indian tour, the free-spirited band found itself labelled as a "Sufi rock band". And , they are not too chuffed with that description. "Sufism itself was a reality without a name," Salman explains. "None of the mystic poets called themselves Sufis. They were dervishes and their message to humanity was a connection with each other through love: the love of God, the Eternal, and it’s a great message because it looks at humanity as a whole and does not divide people into religion  nationalities, ethnicities or race. I have a deep interest in Sufi poetry and feel privileged that our music carries its spirit , but we will not call ourselves Sufi rock or Sufis or whatever."  

Their music is a celebration of the self, of an individual's inner journey. Says Salman, "Foremost, We are promoting respect for humanity. Songs like Meri Awaaz Suno and Khudi do not target anyone nation or religion. They address humanity. Even Jazba -e-Junoon, written specifically fo  Pakistani's, has universal relevance." And that perhaps is the main reason that their music has received such masss acclaim wherever it has been performed; both within the boundaries of their homeland and without. The Junoon sound appeals directly to the heart, thus making barriers of language and culture invalid and unnecessary. "You see the point is that when you sing something from the soul, and you say the truth, you transcend nationalities. That is not to say that you're giving up your nationality. I am a Pakistani and an extremely proud Pakistani, but at same time when I play for people all over the world, I’m connecting with them on a human level. I think the reason Sayonee was the number one song in both Pakistan and India was because the song spoke directly to people on an individual level," says Salman.

And that indeed is precisely how their audience feels about their sound. For most, their music is raw, passionate and most of all, cathartic. The tabla, the guitar and uninhibited lyrics have proved to be a lethal combination not just for the artistes but for all their listeners as well. And even though the inner quests that Salman, Brain and Ali have embarked upon are separate individual journeys, they criss-cross the paths that many of their listeners tread in search of their own inner peace, their own individual "nirvana". The expression of individual belief is what makes it all tick, what make Junoon unique. They are inspired by great poets and great musicians and they readily acknowledge that. But Junoon are determined to speak (or sing) with their own voice and nobody else's. Brian sums it up aptly when he says: "The inspiration we get form great artistes like Ustad Nusrat Fateh Ali Khan is what a genuine artiste he was. He sang from the heart. He was very close to thi  music. And that showed. There is a spiritualism that emanated from him. That inspires us (a  musicians). We don't want to replicate that. If we do, I guess that would be an honor. But our directions come fro  within. Not at looking at other things and saying, okay this is working so let's do that. The succes  we have achieved up until this point is because we have been introspective and are very close to our art. Why should we change that now? And if we start getting involved in the none-music or the non-art aspects of the job - the fame, the popularity, the money - those are all distractions. Because what's selling is our heart, not our pretty faces." 

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