Asian artist Sawhney has always dealt in musical fusions, and Prophesy, his fifth album, is his most ambitious yet. It became a worldwide odyssey, recording the words and beats of everyone from Nelson Mandela to a Chicago cab driver. He went to Madras to mix a 93-piece string section with Natacha Atlas' soaring vocals, did jam sessions in Soweto and rap-metal in LA, sampled Aboriginal dreamtime in Australia and came home to record the sumptuous harmonies of the London Community Gospel Choir. Despite the varied influences, this is not a global mish-mash--moving from the widescreen context of Sunset to the bitter trip-hop of Cold and Intimate, Sawhney has carved out a very personal, haunting and unified collection. --Lucy O'Brien

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

Two of the most redolent sounds of Japanese art music are the shakuhachi (end-blown bamboo flute) and the koto (long zither). This praiseworthy mid-price anthology, based on recordings previously issued by Toshiba EMI, brings together various permutations of the two instruments. For example, it opens appropriately (given the album title) with variations on a lullaby by composer Inzan Tanaka played by Hozan Yamamoto and Utazumi Kunishige on shakuhachi and koto. The second piece features two shakuhachi players (Tozan Tanno and Tozan Hara) and the sounds they encounter on an eight-mile journey through a mountain pass. The sounds of nature predominate. Small birds sing from the trees. The two most ambitious of the eight tracks are a trio performance on a theme of cherry blossom for two flutes and one koto and a double shakuhachi and koto quartet on a theme of a ruined castle bathed in moonlight. For anyone wishing to test the waters of Japanese art music, Lullaby For The Moon is an auspicious starting point. --Ken Hunt

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

just about as good as it gets, 18 Jul 2008
from experienced koto based listener, just about as good as it gets, if you dont like this japanese koto/shakuhachi cd then you wont like ANY. excellent 'natural' recording, sharp sound, superb balance, magical composition and playing, a rarity that combines high quality sound, composition and playing, the cherry on the cake? sea fantasy, if you dont understand it there is no hope! also recomended ,soul of koto, on lyrichord label

Beautiful music from Japan, 04 Aug 2007
The music on this CD is played on the Koto and Shakuhachi is beautiful as it is distinctive. The eight pieces are all brilliantly played and greatly atmospheric and it is difficult for me to choose a favourite as they are all great. This music gives a brilliant introduction to Japanese music and this CD would be a great addition to the collection of anyone interested in the music of Japan.

Not another new age cd., 01 Nov 2006
How many times have you bought a cd claiming to have "traditional/meditative/relaxing/all the above" music from various countries,only to be disappointed as soon as you start listening to it cause most of the music is done with keyboards? I can recall at least 3! This, fortunately, is not the case! I was looking for an introductory cd with Japanese traditional music, and that is what I got. The music is as relaxing and refreshing as a cup of green tea. My particular favourites are "Eight miles through a mountain pass"(track 2) and "Moonlight on a ruined castle"(track 7).

Excellent example of Japanese Music, 19 Jul 2001
Being a student of a Japanese and an avid lover of Japanese culture, contemporary and past history, this CD gave me an insight in to the culture of Japan from a musical perspective, as well as historical ideologies that go with compositions from Japan's past. Being a musician as well, this CD helped in an understanding or world music, and broardened my ideas with musical compositions. In others words.......its great! :)

Recorded in the wake of the late Khan's triumphant performance at the 1985 WOMAD festival, this 10-track collection features the lighter, folkier side of the Pakistani classical music singer's repertoire. Accompanied by his nine-member "party" on acoustic guitar, mandolin, and a full complement of tabla and harmonium, Khan unleashes typically stunning vocal phrases marked by blinding speed, cutting tone, and unearthly ornamentation. The infectious "Yaad-E-Nabi Gulshan Mehka", with lyrics in praise of Muhammed, finds the qawwali singer at his most effervescent, while the ghazal (love song) "Mast Nazroon Se Allah Bachhae" features an insistent hand-clapped rhythm and the full Party chorus singing together in unison. --James Rotondi

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

just about as good as it gets, 18 Jul 2008
from experienced koto based listener, just about as good as it gets, if you dont like this japanese koto/shakuhachi cd then you wont like ANY. excellent 'natural' recording, sharp sound, superb balance, magical composition and playing, a rarity that combines high quality sound, composition and playing, the cherry on the cake? sea fantasy, if you dont understand it there is no hope! also recomended ,soul of koto, on lyrichord label

Beautiful music from Japan, 04 Aug 2007
The music on this CD is played on the Koto and Shakuhachi is beautiful as it is distinctive. The eight pieces are all brilliantly played and greatly atmospheric and it is difficult for me to choose a favourite as they are all great. This music gives a brilliant introduction to Japanese music and this CD would be a great addition to the collection of anyone interested in the music of Japan.

Not another new age cd., 01 Nov 2006
How many times have you bought a cd claiming to have "traditional/meditative/relaxing/all the above" music from various countries,only to be disappointed as soon as you start listening to it cause most of the music is done with keyboards? I can recall at least 3! This, fortunately, is not the case! I was looking for an introductory cd with Japanese traditional music, and that is what I got. The music is as relaxing and refreshing as a cup of green tea. My particular favourites are "Eight miles through a mountain pass"(track 2) and "Moonlight on a ruined castle"(track 7).

Excellent example of Japanese Music, 19 Jul 2001
Being a student of a Japanese and an avid lover of Japanese culture, contemporary and past history, this CD gave me an insight in to the culture of Japan from a musical perspective, as well as historical ideologies that go with compositions from Japan's past. Being a musician as well, this CD helped in an understanding or world music, and broardened my ideas with musical compositions. In others words.......its great! :)

Words fail me ........., 03 Sep 2007

If you would like to truly experience the transcendent power of rythm, harmony and the human voice, and to explore some of the deeper recesses of the human spirit at the same time, then you really MUST listen to Nusrat Fateh Ali Khan and his group.

I first experienced Nusrat some 10 years or so ago on Channel 4 while late-night channel surfing. In an instant I was rooted to my chair, my remote-control hand frozen in mid-air. NEVER had I heard anything so utterly and literally entrancing. Indeed, without understanding a word of what was being sung, I involuntarily found myself on my feet, eyes closed, arms up, swaying and shuffling to the music. It was only when I fell over the coffee table that I came to my senses enough to scribble 'Nusrat Fateh Ali Khan' on a piece of paper.

This was music I had been waiting my entire life to hear. So it seemed to me then, and so it does still. This really is so much more than music. Truly, truly, listening to this incredible human being is a spiritual experience. If your ears and your brain are susceptible to such things, it will enrapture you, transporting you with pleasure to another plane of experience. Which, of course, is precisely what Qawwali music has been crafted to do, over the course of eight centuries or so.

This CD was the first one I acquired (a complete stab in the dark) and it turned out to be a superb choice. For me, the track highlights are Allah Hoo, Ali Maula, Ni Main Jogi and, particularly, Ali Haq, which has the most exquisite slow-building lead-in you'll ever hear.

If your looking for an introduction to the work of the great man and his group, I can think of no better choice than this CD (I now own 5 Nusrat CDs), and for existing fans who have not yet heard these versions of the above mentioned tracks, I would urge you to try them.

It will change your life! Very very highly recommended.

"Nusrat is a God to me" - Jeff Buckley

Asian music for the uninitiated, 11 Mar 2007
Nusrat is a very fine artiste.You don't have to be either Pakistani or Muslim to appreciate his music. That is the bearing of a superstar - transcend all barriers. Nusrat does that effortlessly with this album. Allah Bachaee really is a must listen, and Ali Haq is a close second followed by Ali Maula. Even the musical ensemble, complete with tabla, harmonium and mandolin is a joy to listen. A "Time" article once mentioned a flattering article about the man himself. It wasn't flattering at all - it was simply true.

Allah hoo allah hoo, 16 Jul 2003
You don't own the best song Nusrat ever recorded until you own a copy of him singing Allah hoo allah hoo. Uplifting, joyous, life affirming, and I haven't really got a clue what he's singing about. What a voice. Totally inspiring.

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

just about as good as it gets, 18 Jul 2008
from experienced koto based listener, just about as good as it gets, if you dont like this japanese koto/shakuhachi cd then you wont like ANY. excellent 'natural' recording, sharp sound, superb balance, magical composition and playing, a rarity that combines high quality sound, composition and playing, the cherry on the cake? sea fantasy, if you dont understand it there is no hope! also recomended ,soul of koto, on lyrichord label

Beautiful music from Japan, 04 Aug 2007
The music on this CD is played on the Koto and Shakuhachi is beautiful as it is distinctive. The eight pieces are all brilliantly played and greatly atmospheric and it is difficult for me to choose a favourite as they are all great. This music gives a brilliant introduction to Japanese music and this CD would be a great addition to the collection of anyone interested in the music of Japan.

Not another new age cd., 01 Nov 2006
How many times have you bought a cd claiming to have "traditional/meditative/relaxing/all the above" music from various countries,only to be disappointed as soon as you start listening to it cause most of the music is done with keyboards? I can recall at least 3! This, fortunately, is not the case! I was looking for an introductory cd with Japanese traditional music, and that is what I got. The music is as relaxing and refreshing as a cup of green tea. My particular favourites are "Eight miles through a mountain pass"(track 2) and "Moonlight on a ruined castle"(track 7).

Excellent example of Japanese Music, 19 Jul 2001
Being a student of a Japanese and an avid lover of Japanese culture, contemporary and past history, this CD gave me an insight in to the culture of Japan from a musical perspective, as well as historical ideologies that go with compositions from Japan's past. Being a musician as well, this CD helped in an understanding or world music, and broardened my ideas with musical compositions. In others words.......its great! :)

Words fail me ........., 03 Sep 2007

If you would like to truly experience the transcendent power of rythm, harmony and the human voice, and to explore some of the deeper recesses of the human spirit at the same time, then you really MUST listen to Nusrat Fateh Ali Khan and his group.

I first experienced Nusrat some 10 years or so ago on Channel 4 while late-night channel surfing. In an instant I was rooted to my chair, my remote-control hand frozen in mid-air. NEVER had I heard anything so utterly and literally entrancing. Indeed, without understanding a word of what was being sung, I involuntarily found myself on my feet, eyes closed, arms up, swaying and shuffling to the music. It was only when I fell over the coffee table that I came to my senses enough to scribble 'Nusrat Fateh Ali Khan' on a piece of paper.

This was music I had been waiting my entire life to hear. So it seemed to me then, and so it does still. This really is so much more than music. Truly, truly, listening to this incredible human being is a spiritual experience. If your ears and your brain are susceptible to such things, it will enrapture you, transporting you with pleasure to another plane of experience. Which, of course, is precisely what Qawwali music has been crafted to do, over the course of eight centuries or so.

This CD was the first one I acquired (a complete stab in the dark) and it turned out to be a superb choice. For me, the track highlights are Allah Hoo, Ali Maula, Ni Main Jogi and, particularly, Ali Haq, which has the most exquisite slow-building lead-in you'll ever hear.

If your looking for an introduction to the work of the great man and his group, I can think of no better choice than this CD (I now own 5 Nusrat CDs), and for existing fans who have not yet heard these versions of the above mentioned tracks, I would urge you to try them.

It will change your life! Very very highly recommended.

"Nusrat is a God to me" - Jeff Buckley

Asian music for the uninitiated, 11 Mar 2007
Nusrat is a very fine artiste.You don't have to be either Pakistani or Muslim to appreciate his music. That is the bearing of a superstar - transcend all barriers. Nusrat does that effortlessly with this album. Allah Bachaee really is a must listen, and Ali Haq is a close second followed by Ali Maula. Even the musical ensemble, complete with tabla, harmonium and mandolin is a joy to listen. A "Time" article once mentioned a flattering article about the man himself. It wasn't flattering at all - it was simply true.

Allah hoo allah hoo, 16 Jul 2003
You don't own the best song Nusrat ever recorded until you own a copy of him singing Allah hoo allah hoo. Uplifting, joyous, life affirming, and I haven't really got a clue what he's singing about. What a voice. Totally inspiring.

Expect the unexpected!, 23 May 2008
Unlike most of the other reviewers, I was not familiar with the music of Shankar or Glass before deciding to buy this album on the strength of the most cursory hearing of some of the tracks. Every now and again I just like to treat my ears to something different. And believe me, this is something very, very different. It is simply exciting music, beautifully played, which will grasp at your very soul.

Go on. Treat your ears. They deserve it!

Beautifully orchestrated - see Indian music in a new light, 04 May 2007
Philip Glass is known for his monolithic minimalism, which I for one feel has been rather stale for some time. He apparently already studied with Shankar at the end of the sixties, when Shankar was at the height of international fame, what with the Beatles and everything.

It was a great idea to reunite the two as Shankar's influence adds a new lease of life to Glass's repetitions. The sleeve notes explain that for each piece one of the two composers came up with the themes which the other develops and arranges. The listener can have a lot of fun working out were certain fragments have come from. It's actually much harder than you'd think.

"Raga's in a Minor Scale" floats sitar and flute over gentle tablas. It doesn't seem to repeat itself very much, and the main melodic line is a typical Indian theme - it sounds as if it was based on a vocalised song. Strings bolster the whole thing, and from time to time the whole orchestra hangs on quickly descending arpeggios which you know come from Glass but still sound unique and unusual.

"Prashanti" sets a repeating zither theme against beautiful flutes and as above, rich modal themes from the strings are allowed to interject.

"Offering" begins with a typical Glass motif played on low strings and then the mournful main theme is played on . . . saxophone! The theme slowly progresses before trademark sawing Glass orchestrations work against the Shankar string melody. This is the track that will remind most listeners of Glass - fluttering flute arps, hovering strings, grating cellos, gentle piano melodies, it's all there.

"Sadhanipa" is my favourite, rich and peaceful and the hardest to unravel - to work out which composer has written which bit - and is all the more marvellous for it. The main themes are interspersed with jaunty dances that sound almost like hoedowns - could that be Ravi commenting on Phil's nationality?

I love this album and I would recommend it to anyone who enjoys instrumental music. You don't have to be a fan of either composer to enjoy this and it works as well as a piece of pop music as much as a piece of world music or even classical music.



East meets West, 18 Jun 2004
I had some ideas of what this would sound like before I heard it, but when I heard it I realised I was completely wrong! I thought that it would be typical Philip Glass with some sitar and Indian scales and sounds. It is nothing of the sort.

Each track is not so much a collaboration as a joining of distinct parts. You can hear which parts are Glass and which parts are Shankar, but the glue that holds them together is the compositional genius of the two men. It does not just encompass India either, as there are Middle-Eastern motifs and scales used here, and some very Western orchestral parts.

It is very light on the sitar, and Ravi Shankar probably has more input vocally than with his sitar playing. This is orchestral music without using a conventional orchestra from the West. It is Indian music without being limited to the traditional Indian instruments and arrangements. It is World Music at its best!

The best Philip Glass album you've never heard in your life!, 12 Feb 2003
It took several years after first hearing a tape of this music before I managed to acquire a copy for myself (someone brought me the cassette back from India!!)It is simply excellent music, both easy and challenging at the same time. All the Glass compositions I have heard since (this was my introduction to his music) seem somewhat lame in comparison. Maybe this is due to Mr. Shankar's influence...who knows, I am not a fan of either gentlemen apart from this work. If you're, like me, a westener with a penchant for those sensuous arabic scales this is definately for you.

Journey to the East...and back!, 08 Feb 2003
This album at first glance brings together two of the most unlikely composers one could think of in a collaboration that crosses huge cultural differences but works exceptionally well.

Ravi Shankar, whose music has been known in the West for many years , is known for his work with Yehudi Menuhin and George Harrison among others. His musical reputation goes far beyond his exemplary sitar playing in the traditional ragas and covers much classical Indian music also.

Philip Glass, mostly known for his repetitive structures as a member of the minimalist school and for his powerful soundtracks, has gained a wider audience with classical and popular music afficionados outside of the USA.

This album works in many different ways. Despite their differing backgrounds each musician has produced memorable soundscapes which reach deeply into the history of each of the collaborators and their musical heritage and which emerge to enchant and delight the listener. It is often difficult to distinguish the individual contributions from each other in particular pieces which underscores their deep understanding and appreciation of each others work. The pieces are extremely moving and cover a whole gamut of emotions. Each composition has it's own particular feature which causes me to come back to this album again and again.

In some ways this album is greater than either of it's component parts and will be a lasting testament to the work of these two great composers.

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

just about as good as it gets, 18 Jul 2008
from experienced koto based listener, just about as good as it gets, if you dont like this japanese koto/shakuhachi cd then you wont like ANY. excellent 'natural' recording, sharp sound, superb balance, magical composition and playing, a rarity that combines high quality sound, composition and playing, the cherry on the cake? sea fantasy, if you dont understand it there is no hope! also recomended ,soul of koto, on lyrichord label

Beautiful music from Japan, 04 Aug 2007
The music on this CD is played on the Koto and Shakuhachi is beautiful as it is distinctive. The eight pieces are all brilliantly played and greatly atmospheric and it is difficult for me to choose a favourite as they are all great. This music gives a brilliant introduction to Japanese music and this CD would be a great addition to the collection of anyone interested in the music of Japan.

Not another new age cd., 01 Nov 2006
How many times have you bought a cd claiming to have "traditional/meditative/relaxing/all the above" music from various countries,only to be disappointed as soon as you start listening to it cause most of the music is done with keyboards? I can recall at least 3! This, fortunately, is not the case! I was looking for an introductory cd with Japanese traditional music, and that is what I got. The music is as relaxing and refreshing as a cup of green tea. My particular favourites are "Eight miles through a mountain pass"(track 2) and "Moonlight on a ruined castle"(track 7).

Excellent example of Japanese Music, 19 Jul 2001
Being a student of a Japanese and an avid lover of Japanese culture, contemporary and past history, this CD gave me an insight in to the culture of Japan from a musical perspective, as well as historical ideologies that go with compositions from Japan's past. Being a musician as well, this CD helped in an understanding or world music, and broardened my ideas with musical compositions. In others words.......its great! :)

Words fail me ........., 03 Sep 2007

If you would like to truly experience the transcendent power of rythm, harmony and the human voice, and to explore some of the deeper recesses of the human spirit at the same time, then you really MUST listen to Nusrat Fateh Ali Khan and his group.

I first experienced Nusrat some 10 years or so ago on Channel 4 while late-night channel surfing. In an instant I was rooted to my chair, my remote-control hand frozen in mid-air. NEVER had I heard anything so utterly and literally entrancing. Indeed, without understanding a word of what was being sung, I involuntarily found myself on my feet, eyes closed, arms up, swaying and shuffling to the music. It was only when I fell over the coffee table that I came to my senses enough to scribble 'Nusrat Fateh Ali Khan' on a piece of paper.

This was music I had been waiting my entire life to hear. So it seemed to me then, and so it does still. This really is so much more than music. Truly, truly, listening to this incredible human being is a spiritual experience. If your ears and your brain are susceptible to such things, it will enrapture you, transporting you with pleasure to another plane of experience. Which, of course, is precisely what Qawwali music has been crafted to do, over the course of eight centuries or so.

This CD was the first one I acquired (a complete stab in the dark) and it turned out to be a superb choice. For me, the track highlights are Allah Hoo, Ali Maula, Ni Main Jogi and, particularly, Ali Haq, which has the most exquisite slow-building lead-in you'll ever hear.

If your looking for an introduction to the work of the great man and his group, I can think of no better choice than this CD (I now own 5 Nusrat CDs), and for existing fans who have not yet heard these versions of the above mentioned tracks, I would urge you to try them.

It will change your life! Very very highly recommended.

"Nusrat is a God to me" - Jeff Buckley

Asian music for the uninitiated, 11 Mar 2007
Nusrat is a very fine artiste.You don't have to be either Pakistani or Muslim to appreciate his music. That is the bearing of a superstar - transcend all barriers. Nusrat does that effortlessly with this album. Allah Bachaee really is a must listen, and Ali Haq is a close second followed by Ali Maula. Even the musical ensemble, complete with tabla, harmonium and mandolin is a joy to listen. A "Time" article once mentioned a flattering article about the man himself. It wasn't flattering at all - it was simply true.

Allah hoo allah hoo, 16 Jul 2003
You don't own the best song Nusrat ever recorded until you own a copy of him singing Allah hoo allah hoo. Uplifting, joyous, life affirming, and I haven't really got a clue what he's singing about. What a voice. Totally inspiring.

Expect the unexpected!, 23 May 2008
Unlike most of the other reviewers, I was not familiar with the music of Shankar or Glass before deciding to buy this album on the strength of the most cursory hearing of some of the tracks. Every now and again I just like to treat my ears to something different. And believe me, this is something very, very different. It is simply exciting music, beautifully played, which will grasp at your very soul.

Go on. Treat your ears. They deserve it!

Beautifully orchestrated - see Indian music in a new light, 04 May 2007
Philip Glass is known for his monolithic minimalism, which I for one feel has been rather stale for some time. He apparently already studied with Shankar at the end of the sixties, when Shankar was at the height of international fame, what with the Beatles and everything.

It was a great idea to reunite the two as Shankar's influence adds a new lease of life to Glass's repetitions. The sleeve notes explain that for each piece one of the two composers came up with the themes which the other develops and arranges. The listener can have a lot of fun working out were certain fragments have come from. It's actually much harder than you'd think.

"Raga's in a Minor Scale" floats sitar and flute over gentle tablas. It doesn't seem to repeat itself very much, and the main melodic line is a typical Indian theme - it sounds as if it was based on a vocalised song. Strings bolster the whole thing, and from time to time the whole orchestra hangs on quickly descending arpeggios which you know come from Glass but still sound unique and unusual.

"Prashanti" sets a repeating zither theme against beautiful flutes and as above, rich modal themes from the strings are allowed to interject.

"Offering" begins with a typical Glass motif played on low strings and then the mournful main theme is played on . . . saxophone! The theme slowly progresses before trademark sawing Glass orchestrations work against the Shankar string melody. This is the track that will remind most listeners of Glass - fluttering flute arps, hovering strings, grating cellos, gentle piano melodies, it's all there.

"Sadhanipa" is my favourite, rich and peaceful and the hardest to unravel - to work out which composer has written which bit - and is all the more marvellous for it. The main themes are interspersed with jaunty dances that sound almost like hoedowns - could that be Ravi commenting on Phil's nationality?

I love this album and I would recommend it to anyone who enjoys instrumental music. You don't have to be a fan of either composer to enjoy this and it works as well as a piece of pop music as much as a piece of world music or even classical music.



East meets West, 18 Jun 2004
I had some ideas of what this would sound like before I heard it, but when I heard it I realised I was completely wrong! I thought that it would be typical Philip Glass with some sitar and Indian scales and sounds. It is nothing of the sort.

Each track is not so much a collaboration as a joining of distinct parts. You can hear which parts are Glass and which parts are Shankar, but the glue that holds them together is the compositional genius of the two men. It does not just encompass India either, as there are Middle-Eastern motifs and scales used here, and some very Western orchestral parts.

It is very light on the sitar, and Ravi Shankar probably has more input vocally than with his sitar playing. This is orchestral music without using a conventional orchestra from the West. It is Indian music without being limited to the traditional Indian instruments and arrangements. It is World Music at its best!

The best Philip Glass album you've never heard in your life!, 12 Feb 2003
It took several years after first hearing a tape of this music before I managed to acquire a copy for myself (someone brought me the cassette back from India!!)It is simply excellent music, both easy and challenging at the same time. All the Glass compositions I have heard since (this was my introduction to his music) seem somewhat lame in comparison. Maybe this is due to Mr. Shankar's influence...who knows, I am not a fan of either gentlemen apart from this work. If you're, like me, a westener with a penchant for those sensuous arabic scales this is definately for you.

Journey to the East...and back!, 08 Feb 2003
This album at first glance brings together two of the most unlikely composers one could think of in a collaboration that crosses huge cultural differences but works exceptionally well.

Ravi Shankar, whose music has been known in the West for many years , is known for his work with Yehudi Menuhin and George Harrison among others. His musical reputation goes far beyond his exemplary sitar playing in the traditional ragas and covers much classical Indian music also.

Philip Glass, mostly known for his repetitive structures as a member of the minimalist school and for his powerful soundtracks, has gained a wider audience with classical and popular music afficionados outside of the USA.

This album works in many different ways. Despite their differing backgrounds each musician has produced memorable soundscapes which reach deeply into the history of each of the collaborators and their musical heritage and which emerge to enchant and delight the listener. It is often difficult to distinguish the individual contributions from each other in particular pieces which underscores their deep understanding and appreciation of each others work. The pieces are extremely moving and cover a whole gamut of emotions. Each composition has it's own particular feature which causes me to come back to this album again and again.

In some ways this album is greater than either of it's component parts and will be a lasting testament to the work of these two great composers.

listen is in itself a deeply spiritual experience., 04 Apr 2007
Classic qawalli CD from the maestro himself. Two songs reach GOdlike status namely Woh Hata and Sanson Mala. The vocals are superb and the listen is in itself a deeply spiritual experience.

Achingly listenable and incredible fun, 12 Mar 2002
This collection of love songs, both traditional and newly penned by the man himself, is one of my favourite albums. I'm no expert on Qawwali, or even on Nusrat Fateh Ali-Khan, coming to this album via a friend's recommendation rather than personal knowledge, but I was an instant convert. From the moment I listened to this it blew my socks off. From the amazing vocal sweeps and melodies to the rhythm and confidence of the instruments, everything on this album makes you want to sing along (frustrating when you don't speak a word of Urdu or Farsi!). Take a minute to look at the sleevenotes as well. Titles whose translations reveal the real romance (and humour) at the heart of Persian/Pakistani culture will help round out perceptions of an area that is anything but famous for those qualities at the moment.

Approaching the voice as an instrument, British-born Indian Sheila Chandra brings an expansive, timeless quality to this collection of improvised songs based on ragas and modern folk music. Most of the tracks, outside of the drone, are unadorned--as is Chandra's pretty voice, simple in its low tone and unaffected in vocal style. Still, Chandra travels to expansive places, reliving her days as Monsoon's lead singer on "Ever So Lonely/Eyes/Ocean". Though Chandra revisits British and Celtic music, her voice is at its strongest when borrowing from traditional Indian vocal technique and ragas. "Bhajan" is a soothing hymn with drone as are "Sacred Stones" and "Om Namaha Shiva", proving Chandra has indeed succeeded in connecting to ancestral voices for a lovely, meaningful album. --Karen K. Hugg

One amazing journey, 05 Apr 2005
The concept of travelling the world and creating an album based on various cultures is always going to be a tough thing to complete. All I can say is that Nitin Sawhney has pulled off this mountain of a project with breathtaking results.

The 15 tracks of 'Prophesy' display a highly interesting and diverse body of work, from a man with a real passion to produce something amazing.
From the uplifting opening 'sunset' Sawhney creates a wonderful soundscape through chilled out beats, guitar, Tabla drums and moving orchestral touches, it's an atmosphere followed equally by 'Nothing' string melodies conjure up amazing sci-fi vista's and rousing vocals create an ethereal world.
Acquired dreams is an early highlight and takes the tone to a deeper emotional level, moving oriental vocals and instrumentation help create a truly beautiful setting that paves the way for a swirling DnB laden orchestral outro.
'Nothing more' floats in next, and is just a simple acoustic take on track two, In a way it seems a little pointless as a song, but I'm sure Nitin has his reason's...
You won't be considering this track for long though, 'Moonrise' bounces in quickly and is
undoubtedly a masterpiece, This Spanish salsa creates a breathtaking mood accompanied by moving strings and heartfelt vocal work, If you don't understand the vocals (they are Spanish) it doesn't matter- this track is equally amazing whether you get them or not, and in a way makes it all the more haunting and mysterious.
The American street guru walks in next, a break from the moving melodies he provides a thinking point in his spoken word approach to 'technology in his modern world'
He actually provides some amazing insights despite his appearance as just being a 'bum off the street'.
The moving track 'the preacher' get's the melodies floating again, simple acoustic strumming and haunting vocal work creates quite an atmosphere.
Next is probably the best track on the album 'Breathing light' moving orchestral strings and deep piano grooves roll along with an energetic DnB beat, the ethereal flute patterns just add to the brilliance of this instrumental masterpiece, One of Nitin's finest productions.
Developed' is a track again on the spoken word tip , with an aboriginal perspective on the world and how they as a culture are treated ' music is a universal language, it doesn't hold any prejudice' as is said.
This is followed by the wonderful 'footsteps' simply a children's choir singing- simple, if anything, but creates an amazing worldy atmosphere.
'Walk away' brings the album back into deep and emotional territory, haunting piano and lyrical work touching on the previous track footsteps, light orchestral and middle eastern touches create a truly beautiful song.
The album now takes quite a dark leap with 'cold and intimate' electronic synths and moody strings accompany a rousing vocal performance.
Breaking the dark mood is the street guru again, he continues his interesting view on technology...
this lighter atmosphere is shattered again when Nitin takes a heavy back seat ride into some confronting hip-hop, distorted guitars, heavy beats and gritty lyrical work sung in a style reminiscent of the prodigy's 'diesel power' it creates the most disturbing track on the album.
The extreme nature is then washed away with another of the best tracks on the album, actually the album's title track 'Prophesy' a choir builds, and accompanied with giant percussive sounds and middle Eastern instrumentation get's faster and faster until it's a sweeping high octane worldy masterpiece.

and then it ends.

Nitin Sawhney has achieved a great feat here, pulling together culture, instrumentation and mood's from almost every musical genre, it's a breathtaking journey across the world that only he could pull off in such spectacular fashion.
as the dictionary states- Prophesy: 'to foretell or predict'
If you want to hear the emotion and mood of culture in the future, this album is the closest you will get to the truth.

Haunting, exhilarating, just brilliant!, 10 Jun 2004
I absolutely disagree with thiefinni from Bicester- I think that the Street Guru tracks are fantastic and are well placed in the album to almost give illusion to an interval at the theatre. I find them interesting pieces of social history (if I should read that much into it). On a different point I have to say I bought this album by pure accident and absolutely hated it initially as I did find it grating and didn't get what he was really trying to say without becoming annoyed by too much variety. However now I can't get enough of it, the mixture is now indeed a delight rather than irritation and I find it both mellowing and exhilarating to listen to- for me, now the perfect combination!

Fantastic !, 29 Jul 2002
When I was recommended this album by a friend of mine I didn't quite realise what I was letting myself in for. This must be the best album I have heard for years. Ethnic and haunting, uplifting and beautifully written. This album is not to be missed!

Displacing the Street Guru, 02 Feb 2002
I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.

No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.

These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.

Sawhney's panoramic masterpiece, 23 Sep 2001
Beyond Skin was my first journey in to the world of Nitin Sawhney. Beyond skin was one of the most diverse unchatocharised albums I'd ever heard with a strong Asian fusion. For Prophesy despite the mixed reviews which have deffered me purchasing the album. I was not dissapointed and I have found Prophesy an even more mature international and political collaboration. Nitin Sawhnney's Prophesy takes you to sounds of crystal chilled lounge tracks to international trips which take you to New York rapping, to Iberian back street flameco strums to Indian symphonies and Australian Aboriginal sounds. Nitin Sawhney's Prophesy project despite being somewhat overproduced. My conclusion is a diverse masterpiece, which crosses world music with jazz, rap trip and hip hop.But don't keep the Prophesy experience to your self, spread it around.

just about as good as it gets, 18 Jul 2008
from experienced koto based listener, just about as good as it gets, if you dont like this japanese koto/shakuhachi cd then you wont like ANY. excellent 'natural' recording, sharp sound, superb balance, magical composition and playing, a rarity that combines high quality sound, composition and playing, the cherry on the cake? sea fantasy, if you dont understand it there is no hope! also recomended ,soul of koto, on lyrichord label

Beautiful music from Japan, 04 Aug 2007
The music on this CD is played on the Koto and Shakuhachi is beautiful as it is distinctive. The eight pieces are all brilliantly played and greatly atmospheric and it is difficult for me to choose a favourite as they are all great. This music gives a brilliant introduction to Japanese music and this CD would be a great addition to the collection of anyone interested in the music of Japan.

Not another new age cd., 01 Nov 2006
How many times have you bought a cd claiming to have "traditional/meditative/relaxing/all the above" music from various countries,only to be disappointed as soon as you start listening to it cause most of the music is done with keyboards? I can recall at least 3! This, fortunately, is not the case! I was looking for an introductory cd with Japanese traditional music, and that is what I got. The music is as relaxing and refreshing as a cup of green tea. My particular favourites are "Eight miles through a mountain pass"(track 2) and "Moonlight on a ruined castle"(track 7).

Excellent example of Japanese Music, 19 Jul 2001
Being a student of a Japanese and an avid lover of Japanese culture, contemporary and past history, this CD gave me an insight in to the culture of Japan from a musical perspective, as well as historical ideologies that go with compositions from Japan's past. Being a musician as well, this CD helped in an understanding or world music, and broardened my ideas with musical compositions. In others words.......its great! :)

Words fail me ........., 03 Sep 2007

If you would like to truly experience the transcendent power of rythm, harmony and the human voice, and to explore some of the deeper recesses of the human spirit at the same time, then you really MUST listen to Nusrat Fateh Ali Khan and his group.

I first experienced Nusrat some 10 years or so ago on Channel 4 while late-night channel surfing. In an instant I was rooted to my chair, my remote-control hand frozen in mid-air. NEVER had I heard anything so utterly and literally entrancing. Indeed, without understanding a word of what was being sung, I involuntarily found myself on my feet, eyes closed, arms up, swaying and shuffling to the music. It was only when I fell over the coffee table that I came to my senses enough to scribble 'Nusrat Fateh Ali Khan' on a piece of paper.

This was music I had been waiting my entire life to hear. So it seemed to me then, and so it does still. This really is so much more than music. Truly, truly, listening to this incredible human being is a spiritual experience. If your ears and your brain are susceptible to such things, it will enrapture you, transporting you with pleasure to another plane of experience. Which, of course, is precisely what Qawwali music has been crafted to do, over the course of eight centuries or so.

This CD was the first one I acquired (a complete stab in the dark) and it turned out to be a superb choice. For me, the track highlights are Allah Hoo, Ali Maula, Ni Main Jogi and, particularly, Ali Haq, which has the most exquisite slow-building lead-in you'll ever hear.

If your looking for an introduction to the work of the great man and his group, I can think of no better choice than this CD (I now own 5 Nusrat CDs), and for existing fans who have not yet heard these versions of the above mentioned tracks, I would urge you to try them.

It will change your life! Very very highly recommended.

"Nusrat is a God to me" - Jeff Buckley

Asian music for the uninitiated, 11 Mar 2007
Nusrat is a very fine artiste.You don't have to be either Pakistani or Muslim to appreciate his music. That is the bearing of a superstar - transcend all barriers. Nusrat does that effortlessly with this album. Allah Bachaee really is a must listen, and Ali Haq is a close second followed by Ali Maula. Even the musical ensemble, complete with tabla, harmonium and mandolin is a joy to listen. A "Time" article once mentioned a flattering article about the man himself. It wasn't flattering at all - it was simply true.

Allah hoo allah hoo, 16 Jul 2003
You don't own the best song Nusrat ever recorded until you own a copy of him singing Allah hoo allah hoo. Uplifting, joyous, life affirming, and I haven't really got a clue what he's singing about. What a voice. Totally inspiring.

Expect the unexpected!, 23 May 2008
Unlike most of the other reviewers, I was not familiar with the music of Shankar or Glass before deciding to buy this album on the strength of the most cursory hearing of some of the tracks. Every now and again I just like to treat my ears to something different. And believe me, this is something very, very different. It is simply exciting music, beautifully played, which will grasp at your very soul.

Go on. Treat your ears. They deserve it!

Beautifully orchestrated - see Indian music in a new light, 04 May 2007
Philip Glass is known for his monolithic minimalism, which I for one feel has been rather stale for some time. He apparently already studied with Shankar at the end of the sixties, when Shankar was at the height of international fame, what with the Beatles and everything.

It was a great idea to reunite the two as Shankar's influence adds a new lease of life to Glass's repetitions. The sleeve notes explain that for each piece one of the two composers came up with the themes which the other develops and arranges. The listener can have a lot of fun working out were certain fragments have come from. It's actually much harder than you'd think.

"Raga's in a Minor Scale" floats sitar and flute over gentle tablas. It doesn't seem to repeat itself very much, and the main melodic line is a typical Indian theme - it sounds as if it was based on a vocalised song. Strings bolster the whole thing, and from time to time the whole orchestra hangs on quickly descending arpeggios which you know come from Glass but still sound unique and unusual.

"Prashanti" sets a repeating zither theme against beautiful flutes and as above, rich modal themes from the strings are allowed to interject.

"Offering" begins with a typical Glass motif played on low strings and then the mournful main theme is played on . . . saxophone! The theme slowly progresses before trademark sawing Glass orchestrations work against the Shankar string melody. This is the track that will remind most listeners of Glass - fluttering flute arps, hovering strings, grating cellos, gentle piano melodies, it's all there.

"Sadhanipa" is my favourite, rich and peaceful and the hardest to unravel - to work out which composer has written which bit - and is all the more marvellous for it. The main themes are interspersed with jaunty dances that sound almost like hoedowns - could that be Ravi commenting on Phil's nationality?

I love this album and I would recommend it to anyone who enjoys instrumental music. You don't have to be a fan of either composer to enjoy this and it works as well as a piece of pop music as much as a piece of world music or even classical music.



East meets West, 18 Jun 2004
I had some ideas of what this would sound like before I heard it, but when I heard it I realised I was completely wrong! I thought that it would be typical Philip Glass with some sitar and Indian scales and sounds. It is nothing of the sort.

Each track is not so much a collaboration as a joining of distinct parts. You can hear which parts are Glass and which parts are Shankar, but the glue that holds them together is the compositional genius of the two men. It does not just encompass India either, as there are Middle-Eastern motifs and scales used here, and some very Western orchestral parts.

It is very light on the sitar, and Ravi Shankar probably has more input vocally than with his sitar playing. This is orchestral music without using a conventional orchestra from the West. It is Indian music without being limited to the traditional Indian instruments and arrangements. It is World Music at its best!

The best Philip Glass album you've never heard in your life!, 12 Feb 2003
It took several years after first hearing a tape of this music before I managed to acquire a copy for myself (someone brought me the cassette back from India!!)It is simply excellent music, both easy and challenging at the same time. All the Glass compositions I have heard since (this was my introduction to his music) seem somewhat lame in comparison. Maybe this is due to Mr. Shankar's influence...who knows, I am not a fan of either gentlemen apart from this work. If you're, like me, a westener with a penchant for those sensuous arabic scales this is definately for you.

Journey to the East...and back!, 08 Feb 2003
This album at first glance brings together two of the most unlikely composers one could think of in a collaboration that crosses huge cultural differences but works exceptionally well.

Ravi Shankar, whose music has been known in the West for many years , is known for his work with Yehudi Menuhin and George Harrison among others. His musical reputation goes far beyond his exemplary sitar playing in the traditional ragas and covers much classical Indian music also.

Philip Glass, mostly known for his repetitive structures as a member of the minimalist school and for his powerful soundtracks, has gained a wider audience with classical and popular music afficionados outside of the USA.

This album works in many different ways. Despite their differing backgrounds each musician has produced memorable soundscapes which reach deeply into the history of each of the collaborators and their musical heritage and which emerge to enchant and delight the listener. It is often difficult to distinguish the individual contributions from each other in particular pieces which underscores their deep understanding and appreciation of each others work. The pieces are extremely moving and cover a whole gamut of emotions. Each composition has it's own particular feature which causes me to come back to this album again and again.

In some ways this album is greater than either of it's component parts and will be a lasting testament to the work of these two great composers.

listen is in itself a deeply spiritual experience., 04 Apr 2007
Classic qawalli CD from the maestro himself. Two songs reach GOdlike status namely Woh Hata and Sanson Mala. The vocals are superb and the listen is in itself a deeply spiritual experience.

Achingly listenable and incredible fun, 12 Mar 2002
This collection of love songs, both traditional and newly penned by the man himself, is one of my favourite albums. I'm no expert on Qawwali, or even on Nusrat Fateh Ali-Khan, coming to this album via a friend's recommendation rather than personal knowledge, but I was an instant convert. From the moment I listened to this it blew my socks off. From the amazing vocal sweeps and melodies to the rhythm and confidence of the instruments, everything on this album makes you want to sing along (frustrating when you don't speak a word of Urdu or Farsi!). Take a minute to look at the sleevenotes as well. Titles whose translations reveal the real romance (and humour) at the heart of Persian/Pakistani culture will help round out perceptions of an area that is anything but famous for those qualities at the moment.

One of the great albums of all time, 16 Jun 2001
This has so much I love. Sweep of melody, great singing, a mix of non-west and west. This is a work by one of the greatest musicians of all time and it is her finest work.

I have listened to it a hundred times and there is so much more to learn of it.

The song Enchantment about magic and love is one of the most compelling stories I have ever heard, or indeed read. And I have read quite a few.

If you like the edge of music, if you like imagination and produced sound, than savour this for it is one of the best musics of all time.

Shiela, if you read this - don't let it go to your head, just work and improve please.