Mustt Mustt
Mustt Mustt is a groundbreaking fusion album by the renowned Pakistani qawwali singer Nusrat Fateh Ali Khan in collaboration with Canadian guitarist and producer Michael Brook, released on November 12, 1990, by Real World Records.[1] Blending traditional Sufi qawwali vocals and improvisations with contemporary Western production elements, the album marks a pivotal crossover effort that introduced Khan's extraordinary voice and devotional music to international audiences.[1] Recorded at Real World Studios in England, it features contributions from musicians such as Farrukh Fateh Ali Khan on harmonium, Dildar Hussain on tabla, alongside Western instruments like infinite guitar, surdu, and djembe, creating a unique East-West synthesis.[1][2] The album comprises eight tracks, including the title song "Mustt Mustt (Lost In His Works)", which draws on Sufi devotional lyrics and Nusrat's improvisational tarana style, and "Nothing Without You (Tery Bina)", a poignant Sufi love song emphasizing emotional depth.[1] Other notable pieces, such as "Taa Deem" and "Tracery", explore vocal exercises and rhythmic experimentation, balancing accessibility for newcomers with the introspective essence of qawwali.[3] A remix of the title track by Massive Attack was later added to expanded editions, further bridging qawwali with electronic and trip-hop influences.[1] Critically acclaimed for its innovative approach, Mustt Mustt has been praised as a tasteful fusion that highlights Khan's adaptability and vocal mastery, though some traditionalists view it as a departure from pure qawwali form.[3] It played a key role in popularizing world music during the early 1990s, peaking at number 4 on the Billboard World Music chart and influencing subsequent cross-cultural collaborations while cementing Nusrat Fateh Ali Khan's global legacy.[4]Development and production
Conception and collaboration
The idea for the album Mustt Mustt originated from Peter Gabriel, the founder of Real World Records, who suggested a collaboration between Nusrat Fateh Ali Khan and Michael Brook after encountering Nusrat's performances at WOMAD festivals and through soundtrack contributions, including work on Gabriel's The Last Temptation of Christ.[5][6] Nusrat Fateh Ali Khan, a renowned Pakistani Qawwali singer from a 600-year-old family lineage of musicians dedicated to Sufi devotional traditions, brought his expertise in ecstatic, improvisational vocal performances rooted in Islamic mysticism.[7] By the late 1980s, Nusrat had gained international recognition through live appearances in Europe and North America, culminating in his Real World Records debut with the 1989 album Shahen-Shah, which captured traditional Qawwali in a studio setting.[8] Michael Brook, a Canadian guitarist and producer known for developing the "infinite guitar"—an electronic system creating sustained, ambient tones—had previously collaborated with Peter Gabriel on albums like So (1986) and with U2, introducing his innovative guitar techniques to the band.[9][10] As producer for Mustt Mustt, Brook sought to blend Nusrat's Qawwali vocals with Western ambient and electronic elements, aiming to make the music more accessible to global audiences while preserving its spiritual essence.[5] The partnership formed in 1989, with initial discussions sparked during Nusrat's sessions at Real World Studios, where Gabriel directly proposed the pairing based on Brook's prior work incorporating Asian influences.[6] Brook traveled to Pakistan to meet Nusrat and explore concepts, relying on cassette exchanges to share musical ideas amid logistical barriers like language differences and distance.[6][5] This pre-production phase emphasized mutual respect and experimentation, setting the stage for a fusion that highlighted Nusrat's improvisational genius alongside Brook's textural production.[5]Recording and personnel
The album Mustt Mustt was recorded primarily at Real World Studios in Bath, England, during 1990. Some pre-production involved Michael Brook sending cassettes to Nusrat Fateh Ali Khan in Pakistan for initial feedback and idea development, a process complicated by postal delays that extended timelines by weeks or months.[11][5] The recording process began with Brook crafting ambient backing tracks using his infinite guitar and electronic elements, often in collaboration with a small Western ensemble to establish grooves. These were then layered with live performances by Khan and his qawwali party during sessions, where Khan improvised extended vocal takes lasting 20-30 minutes over the foundations. The material was subsequently edited down to concise 4-6 minute tracks through overdubbing, sampling, and digital editing techniques, including looping key sections on samplers like the Roland S-770 to construct the final arrangements.[9][5] Challenges arose from the improvisational nature of qawwali, which lacked fixed structures, making it difficult to sequence scattered vocal highlights without disrupting flow; editing was labor-intensive, often requiring half-day sessions per adjustment due to the era's analog-to-digital limitations. Language barriers compounded this, as Khan sang primarily in Urdu and Punjabi, while Brook edited lyrics phonetically without full comprehension, leading to unintended cuts that later drew criticism in Pakistan for altering poetic intent—issues only identified after further cassette exchanges for approval.[9][11][5] Key personnel included Nusrat Fateh Ali Khan on lead vocals and harmonium, supported by his ensemble's tabla player Dildar Hussain and background singers creating qawwali chorus effects; Michael Brook served as producer, contributing infinite guitar, bass, keyboards, drum programming, and electronics. Additional musicians comprised James Pinker on percussion (including hairy drum, bongos, and bass gong), Guo Yue on flute, Darryl Johnson on synthesizer, clay drum, and Moog pedals bass, Robert Ahwai on guitar, and Peter Gabriel on drum programming. Engineering was handled by David Bottrill, with assistance from Richard Blair, and mixing by Brook; the album spans 11 tracks with a total runtime of 49:43.[2][1][12]Musical content
Style and influences
Mustt Mustt represents a pioneering fusion of traditional Qawwali music with contemporary Western production techniques, creating a sound that merges the ecstatic improvisation, call-and-response vocals, and handclaps characteristic of Sufi devotional traditions with ambient electronica, infinite guitar loops, and subtle percussion elements.[1] This blend draws directly from Nusrat Fateh Ali Khan's deep roots in Qawwali, a form of Sufi music originating in the Indian subcontinent that emphasizes spiritual ecstasy and the mast state—a trance-like immersion in divine love—often expressed through repetitive, hypnotic structures and improvisational vocal flourishes.[4] Michael Brook's contributions introduce ambient layers inspired by his collaborations with Brian Eno, utilizing his patented "infinite guitar" to generate sustained, atmospheric tones that loop indefinitely, providing a dreamy backdrop without overpowering the vocal intensity.[9] The album's style aligns with the world music ethos of Real World Records, Peter Gabriel's label, which sought to bridge cultural divides by integrating global traditions with modern production.[1] Innovations in Mustt Mustt include condensing Qawwali's typically extended repetitive cycles to suit Western radio formats, while preserving the improvisational essence through edited segments of Khan's live performances layered over Brook's electronic beds.[9] For instance, electronic elements evoke ethereal imagery, such as the "sea of vapours" in tracks where guitar loops and subtle percussion create a vaporous, immersive texture.[1] This approach marks a departure from pure Qawwali, which traditionally thrives on live audience interaction and unpolished energy in Sufi shrines or concerts, by emphasizing studio refinement and minimalistic arrangements to enhance global accessibility.[4] Khan himself noted the intent to "update Qawwali with the times," allowing the music's spiritual core to resonate in a more contemplative, ambient context.[1]Track listing
The album Mustt Mustt features ten tracks on its original vinyl release, divided into Side A (tracks 1–5) and Side B (tracks 6–10), with all selections showcasing Nusrat Fateh Ali Khan's vocals layered over Michael Brook's atmospheric productions.[2][1] The traditional tracks (1, 2, 5, and 8) are adaptations of Qawwali pieces rooted in Sufi devotional poetry.[1] An eleventh track, a remix of the title song, appears on later CD editions and reissues.[2]| No. | Title | Duration | Writer(s)/Notes |
|---|---|---|---|
| 1 | "Mustt Mustt (Lost in His Work)" | 5:15 | Traditional, adapted by Nusrat Fateh Ali Khan and Michael Brook (published by WOMAD Music Ltd)[2][1] |
| 2 | "Nothing Without You (Terê Binâ Nahî Jân Iss Jahan Main)" | 5:04 | Traditional, adapted by Nusrat Fateh Ali Khan (published by WOMAD Music Ltd)[2][1] |
| 3 | "Tracery" | 4:48 | Michael Brook (published by Opal Music)[2][1] |
| 4 | "The Game" | 4:59 | Michael Brook, based on a rhythm by Peter Gabriel (published by Opal Music/WOMAD Music Ltd)[2][1] |
| 5 | "Taa Deem" | 4:47 | Traditional, adapted by Nusrat Fateh Ali Khan (published by WOMAD Music Ltd)[2][1] |
| 6 | "Sea of Vapours" | 3:55 | Michael Brook (published by Opal Music)[2][1] |
| 7 | "Fault Lines" | 4:13 | Michael Brook (published by Opal Music)[2][1] |
| 8 | "Tana Dery Na" | 4:23 | Traditional, adapted by Nusrat Fateh Ali Khan (published by WOMAD Music Ltd)[2][1] |
| 9 | "Shadow" | 3:04 | Michael Brook (published by Opal Music)[2][1] |
| 10 | "Avenue" | 4:51 | Michael Brook (published by Opal Music)[2][1] |
| 11 | "Mustt Mustt (Massive Attack Remix)" | 4:24 | Remix by Massive Attack of track 1[2] |