Nusrat Fateh Ali Khan

When Pakistani singer Nusrat Fateh Ali Khan (1948–1997) flashed into the American world music scene in the early '90s, "Pakistan" and "Islam" were not the charged words they have become. But the appeal of the huge man with the huge voice has persisted through the changes of history and his death. Khan sang qawwali ("utterance"), a religious mode from the antifundamentalist Sufi culture. The basic lineup of a Party, as qawwali groups are called, is no more than a pair of harmoniums (hand-pumped organs), double-headed dholak drums perhaps supplemented by tabla drums, several backup singers who also provide hand claps, and two or three lead singers. Most numbers are devotional meditations that swirl to ecstatic climaxes, though a few ghazals (love songs from India) are welcomed for light relief. While Khan sang in typical Indo-Arabic tones that can sound raw to Western ears, he projected atypical warmth, and was an amazingly swift and deft improviser on the repeated phrases that form the heart of qawwali performance. Khan's ability to build passion transcended not only the bounds of language but also, it seems, of the conscious mind, until everyone in range took flight with him. His recorded output was as vast as his girth and his sales, so the above is only a selection. Rapture, Supreme Collection, and the two Greatest Hits titles are anthologies, with the first offering an irresistible program of varied, compact and vibrant tracks. Greatest Hits, Vol. 2 is highlighted for those looking for early material recorded for cassette in Pakistan. Intoxicated Spirit is the most headlong rush of his straightforward studio recordings. Devotional and Love Songs, Mustt Musst, and Night Song are meetings with Western instruments and the ministrations of producer Michael Brook. The title tune of Mustt Mustt was a hit dance remix by Massive Attack. Night Song is for those who don't want to jiggle around too much. Magic Touch is the standout techno-remix collection, and those who object should remember Kahn was no purist -- he wanted to inspire people through whatever sound it took. The finest vehicle for him, however, was live performance. Imprint, Ecstacy, and Live in London, particularly the beautifully recorded Imprint, are the best available chances to get intoxicated with Khan in concert. (MAC RANDALL)

From 2004's The New Rolling Stone Album Guide