Nooshafarin- “Atash”

Central Productions
2006 (1385)

Just like the Western world of showbusiness today, the Iranian scene of the 70’s was a hotbed for actors and mainly actresses who zigzagged between acting and singing. Nooshafarin a member of this particular generation and, along with Shohreh and Marjan, one of the female artists accused of a Googoosh-emulation tendency image-wise! With the revolution, however, the first chapter of her career ended and it wasn’t before the early 90’s when she resumed the singing after her arrival to LA from a life in India. Her eight studio-album in exile is entitled ”Atash” and consists of material by Habib, Maryam Jalali, Andy G., Paksima, Fereydoon Eskandar, Farzin Farhadi, Shahram Azar, Omid Olyaee, Manoochehr Cheshmazar, Fereydoon Khoshnood and Fereydoon Farokhzad.

”Zange Dar” rings and the album opens with a energetic VOCAL TRANCE fare. It’s a clean and balanced production which most importantly reaches a climax and LIFTS at the chorus! Great arrangement by Andy G.

When you think of Habib and Maryam Jalali (aka Sally) its not exactly up-beat BANDARI songs that comes to mind! Nevertheless ”Dorough Nist” is a floor-filling Electro-BANDARI treat!

Time for the JAZZ/Electronica FUSION, signature-style of Farzin Farhadi! ”Yavaash Yavaash” is a well-produced track with references to the Bristol TRIP-HOP sound.

”Aashti” another BANDARI song on the menu, this one a lyrically revised remake of Mohammad Roohandeh’s famous song ”Bigharar” but with absolutely NO credit to the composer! Mohamamd always complains about his song being not only covered but even altered as ”music: Bandari” without mentioning to whom it belongs!! The same song has previously been performed by both Aram and the BOYZ (who did give credit!) with different lyrics! The lyricist and arranger of both BOYZ’ and Nooshafarin’s versions however are the same, Paksima and Shahram Azar! So even if she didn’t know who the composer was she didn’t need to go far to find out …yet she didn’t!

”Aanzamaan” is a slow song with a melancholic flow in style with Farzin’s songs for Shahrzad Sepanlou!

Shahryar joins in to deliver a duet called ”Aasheghaane”. A PSYCHEDELIC song that blends the style and vibe of Nooshafarin’s songs from the 70’s with a fusion of HOUSE and WORLD MUSIC!

The title-track ”Atash” is a cover on a Turkish song with no credit to the composer/original singer! A PROGRESSIVE Euro-NRG/HOUSE fare!

Cheshmazar takes us back to the late 80’s with the arrangement of the song ”Mehmooni”, reminiscent of Shohreh’s ”Dele Bigharaar” in its opening! Another FLOOR-FILLER!

Last comes a song wrongly titled as ”Mikhake Noghreyi” on the album while its real title is ”Aavaazekhaan na Aavaaz”, a song originally preformed as a duet by late Farokhzad and Aki Banaie bilingually (English-Persian) for the vignette-song of the talk-show ”Mikhake Noghreyi”! There is also another misscrediting on the cover, according to the credits the lyrics are by Farokhzad while according to Farokhzad himself (”…va khaaterhaa” vol. 1) it in fact is by Saeed Dabiri!

Even though her 3-CD compilation ”memories” never leaves my 61 CD-changer, to me Nooshafarin had become the female equivalent to Toofun in the configuration of the LA-artists in recent decade. Especially her maintenance of a low-profile, choice of genre and styles, employment of mainly foreign songs without proper crediting, low-budget videos and last but not least risky label-hopping! This album however flickers a light of hope for a future improvement and progression! The material featured on ”Atash” is still traditionally picked but this time around produced in a more contemporary fashion. Courtesy of some of its conscious and up-to-date arrangers! All in all, this is the BEST Nooshafarin ”album” since her comeback in 1993 but wont be recommended due to its unethical features!

Overall Performance: ++
Artistic Ambition: ++
Commercial Potential: ++
Technical Quality: ++
Aesthetic Presentation: -
Ethical Adherence: --
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Review by: Pourya E.

Reviews described herein are mere opinions, and must be construed in that manner only! In other words they are not absolute!