Post by AJ on Mar 7, 2005 11:10:50 GMT
When most people hear the name MASTER SALEEM, the 2000 Panjabi MC track Dhol Jageero Da comes to mind, and not much else. He also featured on Tarli Digital’s The Dub Conspiracy, DJ Vix’s Dhol ‘n’ Bass Uncut and Amit Rai’s My Way.
Although it should be said that Master Saleem aka Shahzada Salim is a Punjabi vocalist simply second to none. Some may know him as the son of Ustad Puran Shahkoti, mentor to Hansraj Hans and Sabar Koti. He was trained in classical Punjabi singing from a very young age and was rumoured to have been sent to Pakistan to further his vocal capabilities for a number of years, which would add explanation to his exceptional voice and competence.
DAANGHAN, produced by Aman Hayer and Sukhi Chand, is his UK solo debut and is out now. Aman Hayer needs little introduction, as the percussion virtuoso and student of Sukshinder Shinda, Aman has had a bounty of success so far, with hits such as Kalli kitte mil, Gabru shakeen, Mittran di motor and the upcoming Tharti hilde. Sukhi Chand on the other hand is a more low-key figure, as bass/ keyboard player for Achanak, he now plays his trade at Albion Street Studios and has engineered some of the most recent hit albums.
This 8-track album truly caters for anyone with a good ear for excellent music and has a wide plethora of styles throughout, but it has one factor that is omnipresent: musical brilliance. There have been few decent albums of late, with perhaps the exceptions of Balle and Word is Born, but I can’t remember the last ‘complete’ album which was seamless from beginning to end (you’d have to think back ten years, at least). It astounds me that it has taken over twelve years for someone to release Saleem’s album in the UK.
There’s no chance for me to even dissect the album song-by-song, because there’s not one poor track on the album – they all contain moments of nothing but pure genius. The instruments, the composition, the vocals, the mastering, are all professionally executed and give you the reassurance that you’re sampling true Quality – a virtue that is a recent rarity, it has to be said.
Proof of the acute contrast in styles can be heard with Ki beti saade naal, which can only be described as beautiful, with its harmonious melodies, well-balanced riffs and mesmerising vocals. The album can then switch to Veer de viah which has all of the traits of a desi dancefloor smash hit, with dhol, dholki, tumbi, vaja and powerful vocals, all skilfully intertwined in the great tapestry that is the song, and indeed, the album. This takes absolutely nothing away from the other tracks, which are outstanding.
I can’t remember the last time an album put such a big smile on my face and gave me the satisfaction that I was listening to a sample of what the industry, as a collective, should be aspiring to. If I could, I can assure you that it won’t have been recently.
Daanghan gives me no hesitation in saying that it’s the best album that I’ve heard so far this year. Although you probably won’t hear it’s tracks throughout clubs up and down the land, or bellowing out of passing cars for that matter, but don’t be mistaken for one minute that it’s any less of a production than other albums which will.
Daanghan is unadulterated bhangra at it’s finest and is a proof of how things should be. If you know what constitutes as good music and don’t already own this album, go and buy a copy. In one word: pure.
Although it should be said that Master Saleem aka Shahzada Salim is a Punjabi vocalist simply second to none. Some may know him as the son of Ustad Puran Shahkoti, mentor to Hansraj Hans and Sabar Koti. He was trained in classical Punjabi singing from a very young age and was rumoured to have been sent to Pakistan to further his vocal capabilities for a number of years, which would add explanation to his exceptional voice and competence.
DAANGHAN, produced by Aman Hayer and Sukhi Chand, is his UK solo debut and is out now. Aman Hayer needs little introduction, as the percussion virtuoso and student of Sukshinder Shinda, Aman has had a bounty of success so far, with hits such as Kalli kitte mil, Gabru shakeen, Mittran di motor and the upcoming Tharti hilde. Sukhi Chand on the other hand is a more low-key figure, as bass/ keyboard player for Achanak, he now plays his trade at Albion Street Studios and has engineered some of the most recent hit albums.
This 8-track album truly caters for anyone with a good ear for excellent music and has a wide plethora of styles throughout, but it has one factor that is omnipresent: musical brilliance. There have been few decent albums of late, with perhaps the exceptions of Balle and Word is Born, but I can’t remember the last ‘complete’ album which was seamless from beginning to end (you’d have to think back ten years, at least). It astounds me that it has taken over twelve years for someone to release Saleem’s album in the UK.
There’s no chance for me to even dissect the album song-by-song, because there’s not one poor track on the album – they all contain moments of nothing but pure genius. The instruments, the composition, the vocals, the mastering, are all professionally executed and give you the reassurance that you’re sampling true Quality – a virtue that is a recent rarity, it has to be said.
Proof of the acute contrast in styles can be heard with Ki beti saade naal, which can only be described as beautiful, with its harmonious melodies, well-balanced riffs and mesmerising vocals. The album can then switch to Veer de viah which has all of the traits of a desi dancefloor smash hit, with dhol, dholki, tumbi, vaja and powerful vocals, all skilfully intertwined in the great tapestry that is the song, and indeed, the album. This takes absolutely nothing away from the other tracks, which are outstanding.
I can’t remember the last time an album put such a big smile on my face and gave me the satisfaction that I was listening to a sample of what the industry, as a collective, should be aspiring to. If I could, I can assure you that it won’t have been recently.
Daanghan gives me no hesitation in saying that it’s the best album that I’ve heard so far this year. Although you probably won’t hear it’s tracks throughout clubs up and down the land, or bellowing out of passing cars for that matter, but don’t be mistaken for one minute that it’s any less of a production than other albums which will.
Daanghan is unadulterated bhangra at it’s finest and is a proof of how things should be. If you know what constitutes as good music and don’t already own this album, go and buy a copy. In one word: pure.
