ROSLAN AZIZ PRODUCTIONS

MATA by roslan aziz

2011-03-18T16:03:00.000+08:00

ROSLAN AZIZ PRODUCTIONS - Terima Kasih

2011-02-15T13:50:00.000+08:00

A Tribute To Zubir Ali

2011-01-24T06:44:00.000+08:00

Terima Kasih Cinta Musical

2011-01-02T20:36:00.000+08:00

Terima Kasih Cinta

ROSLAN AZIZ PRODUCTIONS - Terima Kasih

2010-05-24T17:39:00.000+08:00

HARING by 'aLi

2010-05-24T02:18:00.000+08:00

IKHLAS CONCERT 1992 - SATU

2010-05-23T20:50:00.000+08:00

IKHLAS CONCERT 92

2010-05-19T23:31:00.001+08:00

IKHLAS CONCERT 1992 - SATU

2010-05-19T23:29:00.000+08:00

DNA Muzik

2010-01-05T04:53:00.001+08:00

Friday, January 01, 2010

DNA Muzik.

Selain dari key, not, bentuk, instrumentasi, tempo dsb. Apakah dasar yang membezakan satu karangan lagu dengan karangan yang lain?

Apa yang menjadi identifikasi permainan antara pemuzik A dengan pemuzik B menerusi sebuah lagu yang sama, rentak yang sama, key yang sama dan instrumen yang sama?

Apakah dia DNA yang menjadikan sesebuah lagu itu punya identiti yang tersendiri sebagaimana satu individu dengan satu individu yang lain?

Kesemua soalan-soalan ini bertujuan untuk melihat keindahan ciptaan tuhan dalam peta minda dan ketelusan jiwa manusia.

Kontuar melodi, dari 1 not ke 1 not yang lain me’reka sebuah naratif masa. Dari detik pertama hingga detik-detik seterusnya. Ini adalah disiplin rakaman masa paling kuno di dunia. Kadangkala kita bercakap melalut-lalut tanpa hujung pangkal. Tetapi muzik, muzik tidak akan melalut-lalut begitu, tidak akan ke‘laut’, malah ia tidak akan beku kaku. Muzik menunjukkan arah – haluan – refleksi – masa.

Hukum masa banyak memberi inspirasi(ide) kepada manusia memahami bagaimana alam berfungsi. A.Einstein menjawab apabila ditanya tentang Teori Relativiti-nya "It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception".

Nombor-nombor digit yang sedang kita guna hari ini, dalam apa jua kegunaan, juga bermula (tercipta) dari intuisi – imaginasi. Ciptaan muzik menolak imaginasi manusia untuk berimajan dalam bentuk-bentuk rigid yang berbeza-beza, mengikut pengetahuan mereka sendiri. Imajan ini berupa ‘penyelasaian masalah/conflict salution’. Tidak hairan, bagaimana cendikiawan zaman awal, baik saintis bidang perubatan, matematik dan kejuruteraan di sebelah Barat mahu pun Timur, punya aprisiasi yang tinggi terhadap seni. Mereka memahami dasar ilmu.

Kini, dasar ilmu itu sedang ditimbus oleh khayalan pada teknologi. Jua tidak hairan, mengapa insan zaman ini lebih sombong dan kering jiwanya. Ini melahirkan persepsi yang sangat serong terhadap kehidupan umumnya.

Kefahaman tentang DNA muzik ini mencetus 1 keresahan dalam diri. Dengan kepelbagaian sumber masa kini, baik menerusi teknologi, gaya dan tekanan ekonomi, ini memungkinkan aku sesat dalam memahami proses pengkaryaan. Bila kacau berfikir, maka akan kacaulah bekerja.

Bunyi hanya lahir bila ada ruang sunyi. Dengan sunyilah manusia berfikir, sunyi jugalah yang membuka ruang untuk disisi oleh ‘masa’. Kemahiran manusia bermain dengan ‘masa’ hanya dapat ‘membentuk’ naratif sesuatu perkara/tema. Membentuk atau membengkok ruang masa merupakan permainan seni silap mata yang unggul. Masih unggul.

Antara not C ke not E contohnya.

Jika C, maka ia tetap C yang akan menghala ke E. Ia bergerak dengan tempo tertentu (yang telah ditetapkan), dengan instrumen yang sama dan dengan bacaan skor yang sama. Jadi, kesemua persamaan ini pada realitinya akan melahirkan hasil yang sama, kesan yang serupa, namun pada hakikatnya ia berbeza.

Pause (temporary inactivity) – between 2 notes.

Hal ini menunjukkan ‘intuisi’ pemuzik yang bermain dengan not-not dalam persembahan itu secara semulajadinya akan berbeza. Pasti. Sebanyak manapun make up (untuk sama) atau cosmetic (untuk berbeza), ia tetap tidak akan terpadam DNA nya. Artur Schnabel, seorang pianist lagenda. Beliau sendiri pernah mengingatkan bahawa not-not muzik adalah perkara kedua terpenting selepas ‘pause’ diantara not-not ini. Seni itu berlaku ketika ‘pause’. Ketika itulah, detik itulah.

Memahami DNA muzik sahaja belum memadai untuk sukses berkarya. Sebaliknya, ia menjadi dasar buat pengkarya bergelut untuk express and bold identiti muziknya. Sering kita dengar ulasan “Artis itu ada identiti ini, lagu itu ada aura ini, muzik ini ada hantu X factor itu”. Hakikatnya, DNA setiap muzik itu sendiri sudah sememangnya berbeza. Tidak perlu make up tambahan. Cari dan Bold kan saja. Contoh mudah, dengarkan Far Elise karya Ludwig Van Beethoven. Tuhan telah mewahyukan keindahanNya menerusi seorang insan pekak yang mencintai Fur Theresa. Kita mendengar, dan sayang, cinta beliau telah gagal. Namun … pause between 2 hearts inilah yang telah mencipta DNA buat kita pelajari !

Posted by ariapertama at 11:13 AM

R.A.P. 20 YEARS

2009-06-28T07:35:00.002+08:00

Talkin’ about a revolution

By N. RAMA LOHAN

Roslan Aziz Productions, better known as RAP, turns 20 this year. The main man behind the label shares his thoughts on the eventful ride – past and present – and the future.

I AM grateful for the opportunities that have come my way,” declares renowned maverick producer Roslan Aziz with a smile, easing back into his rattan chair at his parents’ home in Kg Datuk Keramat, Kuala Lumpur.

Amidst the cacophony of renovation work (he is having a room soundproofed in the house for after-hour sessions) and the euphoria at Anfield via Astro’s repeat of Liverpool’s demolition of Aston Villa, Roslan leans back and enjoys the footballing spectacle. His smile says it all ... a devout Liverpool fan. He beckons to one of the labourers, “Mari lah ... duduk dan tengok. This is Liverpool, tau?”

Footballing allegiances aside, this is a great time for Roslan. RAP (Roslan Aziz Productions), the label he founded in the late 1980s, turns 20 this year. With the benefit of hindsight, the Klang-Valley native can say success hasn’t come easily.

When the label began life in 1984, naysayers regarded Roslan’s ear for music and ability to spot talent as, to say the least, rubbish.

“When Sheila’s (Majid) first album came out, people were saying, ‘Apa ni? Suara macam tikus (What’s this? Her voice is like a mouse)’. They said all kinds of things, labelling me ‘mad’ even,” exclaims the seasoned producer.

Proud moment: Sheila Majid with Roslan Aziz in 1987. Their album Emosi sold 120,000 copies in Indonesia and was honoured with the BASF Award for best-selling Indonesian album in the rhythm and blues category.

But everything starts with a dream, so Roslan took a page out of GRP’s (a subsidiary of the then-MCA label) books and charted a course for world domination. “I was always looking beyond Malaysia ... I wanted our artistes to get international exposure. I was looking at an alternative to what people were doing ... there was too much dangdut and Hindustani music. Even rock kapak had not happened yet,” he reveals, having gleaned the concept somewhat from the late Mike Bernie Chin, who was also managing artistes.

The plan seemed noble and almost guaranteed to yield results.

“I wanted to have a label that would harness the artistes’ talents, groom them and develop them into stars of international repute. It was imperative for me to achieve this with Malay music – songs of the artistes themselves. Our talents were not selling too many records then, but always had good paying gigs ... dinner shows basically. But they were all performing covers because their originals weren’t deemed appropriate,” shares Roslan, insisting this was what he didn’t want to see happen to his signings.

Disillusioned and disgruntled, he headed to the United States and plied his trade in Detroit and New York, among others, learning newer tricks of the trade that have served him well to this day.

“When Sheila’s first album sold well, EMI took note. Then they called me and asked me to return, even though they already had Adnan Abu Hassan and Manan Ngah, who had completed three songs by then. But I guessed that it was upon Sheila’s insistence that EMI called me. Later, Sheila called to tell me she wasn’t interested in pursuing this if I wasn’t going to produce her. Honestly, at that point, returning to Malaysia was really the last thing on my mind. But I gave it some serious thought and eventually relented.”

Roslan’s three-month production request was greeted with groans. Likewise his demand for an RM18,000 fee.

“What EMI didn’t know was, I even topped that up with my own money to make sure I got the best musicians and facilities. Upon its release, Emosi exploded ... and hit big time in Indonesia.”

RAP’s rise

This made him realise that while he wasn’t a darling with the record industry, he certainly was in the eyes of the listening public, which was the catalyst for the birth of RAP.

“When things started working out well for Sheila, I stuck around and did Warna with her in 1987. That’s when I realised I had to go it alone and form my own label. So in 1988, while doing the P. Ramlee single Bunyi Gitar, I registered Roslan Aziz Productions,” he says, divulging that his friend and partner Din Kamarudin was instrumental in his finance and management knowledge.

The label’s primary goal was to do what the mainstream labels were not. “Our first artiste was the late Zubir Ali. He taught me the meaning of making music, the meaning of arts and culture ... the profound reason why we pursue this in the first place. He was a phenomenal songwriter ... always able to work poetry into his lyrics.”

Zainal Abidin and Amir Yussof came in quick succession as new signings. Sheila only came on board when her contract with EMI expired and RAP officially began business in 1989. “Our first project was Sheila’s Sinaran album in Japan, a collaboration with EMI.”

Certified classic: Sheila Majid’s Legenda album, regarded as one of Roslan Aziz’s production masterstrokes .

Interestingly, a minus one version of the Sinaran single was released, much to the glee of her fans. “We wanted people to get away from dangdut songs and all that, so we did the minus one, and to our surprise, it sold really well,” he laughs out heartily, amused at the birth of karaoke.

Legenda, Sheila’s follow-up album (and another collaboration with EMI), was a landmark for the Malaysian music industry – it was the first Malaysian-mastered album.

“I mastered it in Japan ... I recall fighting with EMI, not allowing them to take the masters from me until I had concluded the process,” he guffaws.

Hard road ahead

While Roslan stuck to his guns where creative control was concerned, he does rue not having heeded EMI’s advice to him on artiste management, an error of poor judgment he says that has come back to haunt him over the years. However, he does concede that risk-taking is part and parcel of his label’s philosophy.

When more assistance was required, the partners recruited Boudeng and Weng, who would play significant roles in RAP’s chequered history.

Life didn’t get any easier when it came to the release of Zainal’s eponymous debut. “I had to go through the same headache of trying to convince the record label that this was music that would capture the market. Once again, it seemed that only our inner circle of friends and compatriots could understand what we were doing and where we were trying to take this.”

While resistance seemed futile, RAP believed in the album and eventually won over Warner Music’s argument of the album being “tak laku” and “radio tak main”. Like Sheila’s many classics, Hijau and Manis have gone on to become staples in the vocabulary of pop music fans. Staggering to believe, many of these big wigs continue to participate in the music scene. The Ikhlas concert album brought RAP to a crossroads of sorts, where the requirement for monetary returns became a little desperate. Enter Tony Fernandes (now CEO of AirAsia), the up-and-coming boss for Warner Music Malaysia in the early 1990s.

When Fernandes heard both Sheila’s Legenda and the Ikhlas albums, the seeds for a long-term relationship were sowed. A global label taking on a smaller local one was unprecedented at that point but RAP has always been about busting and setting trends. “It took two years ... from 1992 to 1994 to secure a deal, but the wait was worth it. To a large extent, this deal was struck because of Tony’s belief in us,” Roslan shares.

Roslan puts the music industry into perspective: “The problem is, people who know how to manage money don’t know anything about music. And the people who are passionate about music couldn’t care less about money.”

The latter part of the 1990s was hard on RAP, and while its stable of artistes dwindled, the label maintained a presence throughout. Still, the label groomed the likes of Amir Yussof, Prema Lucas and Atilia, among others. Roslan’s personal life took a turn for the worse in 1997 (his marriage to Sheila ended in divorce) and through till 2002, he stayed out of the music scene all together.

Life goes on

The former UiTM student (he studied Actuarial Science) found his feet again after that and has embarked on numerous music-related endeavours since. Of course, his most prominent roles in more recent times were as judge on Malaysian Idol and principal for a season of Akademi Fantasia.

Working as musical director for both Puteri Gunung Ledang and P. Ramlee The Musical has simply added to his already glittering CV. His current pursuit has been aLi, a project that has him collaborating with long-time compatriot and friend, Mukhlis Nor. The music boasts an eclectic mix of urban grooves with rich, traditional undertones.

Roslan has many great memories of the high times of RAP; “Penetrating the once impregnable Indonesian and Japanese markets were great moments for us. Seeing the success of both the P. Ramlee Legenda tribute, the acceptance of Hijau and the Ikhlas concerts were very satisfying, too.”

Opening doors: ‘Roslan opened the industry’s ears to different music genres created and performed by local talents,’ says Amir Yussof.

Setting up a label is never easy, and the casualties are there for all to see, but Roslan maintains that courage, perseverance and self-belief have taken him a long way ... with the grace of God, of course.

“I guess the recording industry was very much more alive back then ... almost everyone got signed,” he laughs. “We still have a lot of talent, but because the industry is not in a good way at the moment, we can’t really gauge a talent’s true potential. But I am optimistic,” he professes, hoping RAP will bring the winds of change.

In his years as a producer, he singles out Sheila Majid, the late Zubir Ali and M. Nasir as the greatest talents of the land. Industry players whom he feels have helped shape the Malaysian musical landscape include the likes of the late Mike Bernie Chin, promoter extraordinaire, producer Ali Bakar and his buddy, Tony Fernandes (“He’s my soul mate in music business and has never been afraid to point out my follies”).

The close of the century may not have been kind to RAP and Roslan, but perseverance and an unbridled love for music has kept him and his mates in the game, albeit a five-year hiatus.

RAP remains the true shining star of the music industry – it took no prisoners and its philosophy of believing in artistic integrity is second to none. And there’s been nothing like it before or since. “I guess RAP is a bit too demanding for kids nowadays and the not so promising record industry. The situation was just more promising then,” he says.

Life is cyclical, and all it may take is time for RAP to once again rule the roost. It may be a significant wait, but with Roslan Aziz behind the wheel of this music-machine, it’s hard not to imagine the label’s stock rising again. Here’s to another 20 years.

■ A double CD compilation (featuring most of the label’s artistes over the years) titled RAP 20 from Warner Music is available at all music stores.

Related Story:
Success stories ...

Starting out

Doa ~ for Allahyarham Zubir Ali 1950 - 2009

2009-03-17T22:13:00.002+08:00

Killing Time with Ijah Amran

Doa ~ for Zubir Ali

Posted in In Rememberance, Music! by ijahamran on March 12th, 2009

I had written a different post based on my memories of the song “Ikhlas Tapi Jauh”.

But, as I reflected on how I feel, and what I wanted to say about the late Encik Zubir Ali, more and more I felt drawn to just simply post this link and let his song speak for itself.

On my way to the airport last Friday, I received the message that he didn’t survive his heart bypass surgery. Later that night, several more text messages came in and his niece Anis Lee, left an simple email in my inbox. She wrote, just to let you know…

I knew Encik Zubir. Not well, but I knew him. I would like to write a glowing tribute about this man, but I find that I could not bring myself to. He was kind and gentle, respectful and laidback, just exactly like how you would imagined him to be. Completely unpretentious and quietly supportive of us, of anyone really, who show even the tiniest interest in music. And the more I think about it, the more I believe that he would have liked me to say whatever I want to say about him in the simplest way possible, without any adornment or an embellished sense of nostalgia.

On what key? he asked me one day, when I asked him for the chords to ‘Lanchang Kuning’. He didn’t say no. He didn’t think it was trivia. He wanted to know on what key, so that he could give me something that I could use.

So I guess that’s what I wanted to say. He gave me something that I can use.

Thank you Encik Zubir, for the lessons. Thank you mostly for Doa, which has been my salve during those times when what I needed the most was prayers.

Sleep well under the grace of God. You are missed.

Doa

Tuhan ku
Dalam termangu
Ku sebut nama Mu
Biar susah sungguh
Mengingat Mu penuh seluruh

Tuhan ku
Cahaya Mu
Panas suci bagai kerdip lilin
Di kelam sunyi

Tuhan ku
Aku hilang bentuk
Kembara di negeri asing
Tuhan ku
Pintu Mu ku ketuk
Aku tak bisa berpaling

A Prayer

Dear God
In desolation
I said your name
So that this pain heals
Though it is hard
Remembering You with all my heart and soul

Dear God
Your light
(is) Warm and aglow like the flicker of a candle
On a quiet balmy night

Dear God
I lost myself
A stranger travelling in this strange land

Dear God
Here I am knocking on Your door
And I can no longer turn my face away (from You)

Obituary: Wednesdays with Zubir Ali

2009-03-13T18:08:00.002+08:00

Obituary: Wednesdays with Zubir Ali
BEE ALI

2009/03/12

Zubir’s look of consternation was just a bluff, the big give-away being the twinkle in his eye.

JUST like how American author Mitch Albom had his Tuesdays with Morrie, many former students of Universiti Teknologi Mara (UiTM) had Wednesdays with the late Zubir Ali.

Zubir died of heart complications at Damansara Specialist Centre, Kuala Lumpur on March 6. He was 59.

To the world at large, he was a singer-songwriter and a good one at that. But to the students who had chosen to join Peska, the cultural unit in UiTM some 30 years ago, he was Cik Zubir, the department’s head honcho and mentor, who gave meaning and motivation to their creative and artistic dreams.

I was among the thousands of impressionable young people who entered college then, streamlined as we were into our chosen vocations as diverse as engineering to hotel and catering and computer science.

I studied Mass Communications but while subjects such as Fundamentals of Journalism and Communication Law were necessary tools of the trade, the picture wasn’t quite complete.
There was this need to express (and perhaps impress) that hovered like a shadow. It vanished as soon as I found my soul mates in the cultural unit — boys and girls who wanted to act, dance, sing, recite verses or just play a musical instrument or two.

At the centre of it all, to advise, supervise and even reprimand at times was Zubir.

He was a diminutive man but his spectacles gave him a severe look that, when displeased, could put the fear of God in you.

More often though, his look of consternation was just a bluff, the big give-away being the twinkle in his eye.

The building, a small section in the sprawling Shah Alam campus where lessons were held in the name of the arts from playing traditional instruments to studying the intricacies of asli dances, was one bustling place especially on the compulsory Wednesdays.

If one’s skills weren’t in any of the abovementioned areas, one could find a niche as a member of Himpunan Penulis dan Dramatis and be encouraged to write, read and recite the various forms of verses, be they sajak, syair or plain citations.

As you approach the cultural unit and hear the beats of the gendang and cak lempung get louder and louder, you feel uplifted!

After all, you would also have made firm friends. For me, there were Atuk, Aida, Aina, Boon, Lloyd, Hazlan, Jamal, Ogie, Putri, Roslan, Zailan, Nizam, Wak2, Zurina, Zubli and Zuraidah, to name a handful.

The rigorous practices led to actual performances, of course. There were small ones involving maybe just a group of “poets”, and others that required the presence of the entire troupe such as at convocations or inter-college cultural shows with Universiti Kebangsaan Malaysia.

Regardless of the scale of the show, we were taught that one’s input and commitment to a performance was the same. You have to give your all. Come what may, the show must go on. You learnt all these and more. Looking back, these stuff prepares you for life.

Exhausted by the rehearsals? It would surely be nothing compared to the midnight oil-burning “marathons” when one prepares for a presentation in the real world later.

Chagrined by the dancer beside you? Well, you’d had better learn to grin and not bare it onstage because your prospective business contact 20 years down the line may not be the sweetest of women.

The pointers you learnt then were just as invaluable. Zubir would spend hours explaining the theory or philosophy behind anything that you queried, selflessly sharing his deep knowledge if it would help make you more insightful. Where was I in the scheme of things, you might want to know? Zubir was the founder of Kumpulan Harmoni, a vocal group that sang songs shaped from poetry written by luminous literary figures including the late Datuk Usman Awang, Firdaus Abdullah and Zurinah Hassan.

The members (Joei and Roslan on their acoustic guitars plus Ogie and I as vocalists) always felt special because the group was, after all, Zubir’s “baby”. Zubir played the guitar and sometimes the harmonica, and was mighty proud of us.

We used to perform at cosy and even exclusive puisi events attended by leading thespians in the country. After having heard a whole string of poems, our songs always made for a welcome break, at least that was what I thought.

Moreover, Zubir had the knack for putting even the most complicated of verses to beautiful music. One example was Firdaus’ Patricia Takamoto. Zurinah’s Sepanjang Jalan Ke Pulau Pinang was also my personal favourite.

Kumpulan Harmoni went on to release an album, Penantian, in 1981. Being in my tougher final year then, I stupidly opted out and often wondered whether Zubir had ever forgiven me.

Anyway, the title track became a hit. The group cut another album, Nyanyian Ombak, before Zubir joined Roslan Aziz Production later and was featured in the outfit’s compilation album, RAP 96.

Being the trouper that he was, Zubir made a solo album titled Zubir 06. His songwriting talent was also heard in Datuk Siti Nurhaliza’s latest album, Lentera Timur.

To the end, this man remained a crusader who was happy making songs out of literary works. Proof of this was when he formed Trio Harmoni two years ago (with Joei still!) to sing tunes in the same vein and verve as his other compositions.

He performed with the group at a fund-raising event, Malam Puisi Utusan Demimu Palestin, at Istana Budaya on Jan 23.

His commitment to culture and entertainment never wavered. He established Koperasi Industri Muzik Malaysia (along with some members of the Music Authors and Copyright Protection Bhd not too long ago to champion the rights of artistes and music practitioners.

Zubir is survived by his wife Faudziah Ismail and three children — Fauzul Azhan, Badiatul Adawiyah and Raihan Nurani.

To the many young minds that he has nurtured, Zubir will remain more than a memory.

Like many great teachers, he’s lit candles that no wind can put out and he has our doa that he will be in a good place...

Allahyarham Zubir Ali 1950 - 2009

2009-03-11T23:51:00.003+08:00

Sunday, March 8, 2009

zubir ali: sebuah belasungkawa

Ada yang berkata PENANTIAN sebuah lagu berkisar cinta. Ada juga membaca lebih dalam- PENANTIAN sebuah lagu ketuhanan. Pedulikanlah-yang pasti PENANTIAN merupakan sebuah lagu yang amat menyuntik segar dan romantisme dalam jiwa setiap orang yang mendengar dan dapat merasai nikmatnya sebuah lagu (baca; muzik). PENANTIAN mengembalikan semula manis nostalgik zaman remaja anda dengan acuan kerja yang amat lembut dan penuh rasa.

Berbekal lantang suara dan disiplin dalam kerja nyanyi, Zubir Ali menerobos ke dalam jiwa orang melayu kebanyakan-zaman itu malahan zaman ini sekalipun. Zubir antara yang faham bahawa senikata, melodi dan susun muzik adalah elemen yang amat berkait rapat dan harus ada pertautan perasaan yang kuat dalam kerja2 penyatuan. Lihat dan dengar bagaimana pula DOA- sebuah puisi Chairil Anwar- disampaikan secara berlagu dengan amat menusuk dan menikam. Pedulikan juga kerana tidak ada yang mengatakan DOA sebuah lagu berdakwah sepertimana kumpulan2 nasyid masakini. Tetapi setiap hasil kerja yang menyeru kebaikan itu sendiri suatu dakwah, sebenarnya (jika kamu masih ingat, DOA pernah mencetuskan kontrevensi bodoh yang dimulakan oleh manusia2 bodoh ekoran sebaris ayat-..tuhanku, pintumu kuketuk..-). DOA di tangan Zubir Ali tidak menghina pendengar muzik, apatahlagi penulis puisi tersebut-sang seniman seberang- dengan kerja lagu yang hentam keromo. DOA sebuah hasil karya yang amat bertanggungjawab dan telus pembinaanya. Tidak dihasilkan untuk menunjuk handal si pembuat tetapi adalah manifestasi telus jiwa yang mengerti keperluan dan kemestian memahami fungsi muzik dalam mengangkat sesebuah naskhah karya tulis (baca: puisi).

Meski agak melankolik (kerana orang melayu memang suka yang melankolik), Zubir juga sang seniman yang tidak hanya tertidur dengan nyaman angin dan debur ombak. Zubir mengangkat derita munir- anak kecil yang parah ekoran serangan zionis terhadap kem pelarian palestin di satila dan sabra pada tahun 1982-melalui BALADA SEORANG GADIS KECIL yang tidak pernah dirakam dalam album sehinggalah tahun 2006. Lagu inilah yang menjadi kekuatan jiwa seniman zubir ali yang ketika itu meninggalkan jauh ramai penyanyi dan dan karyawan sezaman dalam sendu murah dan gemerlap populariti dunia hiburan. Jangan tanya kenapa perlu ada lagu sebegini-tetapi tanyakanlah kenapa tidak ada pemikiran seperti lagu ini dalam kebanyakan karya muzik di Malaysia meski kepada mereka yang sibuk melaungkan diri sebagai penyanyi lagu puisi itu.

Zubir Ali menceroboh masuk kealam populariti dengan amat bertanggung jawab. Beliau tidak perlu terhegeh-hegeh mengikuti dulu arus perdana, mencipta tapak kemudian berpaling semula menjadi pejuang dan seniman dihormati dengan karya2 sepatutnya. Beliau memaksa khalayak menerima kehadirannya dengan cara yang amat menarik, bijak dan sedar. Itu yang amat dikagumi bila bercerita perihal seniman yang menutup mata pagi jumaat lalu di hospital pakar damansara.

Ramai yang berkata selepas kepergian ini, penantian beliau akan berakhir. Tetapi berakhirkah penantian kita, juga penantian beliau semasa hayat untuk melihat lagu puisi (saya amat tidak selesa menggunakan istilah lagu puisi) dihasilkan dengan lebih bertanggungjawab dan bertanggungjawab juga terhadap kemanusiaan dan kerohanian sekaligus mendapat tempat yang sewajarnya dalam masyarakat pendengar dan industri?

Atau mungkinkah kita akan terus berada dalam penantian yang tidak berkesudahan?

Sekalung doa dan yang baik-baiklah untuk beliau di sana

Posted by wanie_agk at 8:55 AM

CD - R.A.P. - DUA DEKAD

2009-02-28T23:25:00.003+08:00

Roslan sinonim jenama RAP

Oleh Suzan Ahmad
suzan@bharian.com.my

KETRAMPILAN, pandangan jauh serta pengalaman luasnya dalam dunia muzik ditumpahkan sepenuhnya menerusi penubuhan label muzik Roslan Aziz Productions (RAP). Menerusi label yang dianggap chic dan paling sofistikated ketika awal kemunculannya pada 1989, RAP berani mengenengahkan irama yang kurang mesra dengan halwa telinga ketika itu seperti world music, muzik etnik, fusion rock, soul, poetry ballad dan jazz.

Tiada siapa yang dapat menafikan kehadiran RAP yang ditunjangi jurutera muzik dan penerbit kreatif seperti Roslan Aziz. Kejayaan RAP ternyata bukan kecil-kecil anak. RAP pernah menerbitkan album Legenda (Sheila Majid) yang terjual mencecah 150,000 unit di samping mengambil beberapa artis ternama yang memiliki bakat unik seperti Zainal Abidin, Zubir Ali, Amir Yussof, Azman Warren dan Sheila sendiri untuk bernaung di bawah RAP.

Demi mengenang kembali saat gemilang RAP yang kini menjangkau 20 tahun, Warner Music Malaysia menerbitkan RAP 20 tahun, himpunan kompilasi terbaik selama dua dekad RAP beroperasi.

Didatangkan dalam dua CD, album istimewa ini boleh dianggap sebagai momento permulaan kerjaya solo beberapa artis dan pemuzik ternama tanah air seperti Zainal Abidin, Sheila Majid, Afdlin Shauki, Amir Yussof dan ramai lagi.

Antara lagu yang dimuatkan One Rhythm, Ikhlas Tapi Jauh, Hijau, Ratu, Sleep Before I Die, Manis, Island, Pagi, Harga Diri, Mengapa Kasih, Suratmu, Embun, Mercy dan Debu Liar/Bahagia.

CD 2 pula memuatkan Bersatu Hati, Senang-senang, Sampai Bila, Satu, Aku Cinta Padamu, Pelangi, Siapakah Memberi Khabar, Percayalah, Live and Die, I Got U, Rintihan Harimau, Primadona, Wanita dan Don’t Say Goodbye.

Perjalanan seni Roslan tiada noktahnya, selain pernah menjadi juri tetap program realiti Malaysian Idol 1 ( 2004 ) dan 2 ( 2005), Roslan juga bertanggungjawab mengarah dan menerbitkan konsert bersejarah Datuk Sri Siti Nurhaliza Royal Albert Hall London pada April 2005. Bukan itu saja, dia turut dilantik sebagai pengarah muzik teater muzikal yang mencipta fenomena Puteri Gunung Ledang pada Feb 2006 manakala musim keduanya Oktober tahun yang sama.

Dia juga bertanggungjawab menerbitkan album sulung Raja Atilia berjudul Sangkar yang dilancarkan pada Mei 2007. Roslan juga pernah diberi tanggungjawab untuk menjadi Pengetua Akademi Fantasia Musim ke-5 yang berakhir pada Mei 2007.

roslan aziz

2008-10-14T07:24:00.001+08:00

NO BLACK TIE 10th ANNIVESARY

2008-10-04T20:16:00.004+08:00

Listen to the ...

2008-09-11T06:06:00.005+08:00

by RADIN SRI GHAZALI

He has created some of the finest entertainers in the country and has rapped those in the business without fear or favour. Music guru Roslan Aziz speaks to RADIN SRI GHAZALI about the current state of affairs in the industry and his band, aLi.

HE drives a Kancil and dresses in faded T-shirts and baggy jeans.

He is music guru Roslan Aziz, hailed by many as the maker of music icons, including Sheila Majid, Zainal Abidin, Amir Yussuf, Prema Lucas and Afdlin Shauki.

“I am a simple man. I do not splurge on unnecessary things such as fancy cars. I do not even have credit cards,” said the 47-year-old composer with a laugh.

Where does the money go? “Here,” he said pointing out his studio, situated near Bangsar.
“I spent most of my time and all of my earnings on RAP (Roslan Aziz Productions). I invested a lot on the studio’s development and on taking care of the artistes who are signed under us,” he said.

Established in 1988, RAP has made a mark in the Malaysian music industry by producing timeless albums including Ratu, Gamal, Ikhlas and Hijau.

“I believe in grooming the artistes to achieve the best. When there is potential, I will take them and develop them. It is not an easy thing to do. You have to spend thousands of ringgit on them for training, album productions and more,” he said.

“Now, most people are too caught up in popularising their artistes rather than grooming them to be better entertainers,” he said.

As a composer and music producer, Roslan is no stranger to awards for his outstanding contribution to the music industry.

He won the Best Album award for Gamal at AIM in 1995, Best Album for Ratu at AIM (1996), Best Album for Emosi at BASF Awards, Indonesia in 1987, and Most Promising Producer at the Music Producers Awards in the United States in 2002.

When asked the five most listened-to albums, Roslan immediately said: “Hijau, Ratu, Ali, Gamal and M. Nasir’s Solo. Obviously most of the albums were made by me.”

After 25 years of being behind the scenes, Roslan finally is taking the limelight as one-half of the band, aLi.

“I am doing it for self satisfaction and of course, nak cari makan,” he said referring to the musical partnership with fellow rap artiste, Mukhlis Nor.

“aLi is different. aLi represents our interpretation of what music is about. It has its own appeal to the masses,” he explained.

aLi-The Album consists of Nonterro, Benar, Bebas, Mata Hari and Merong, written and composed by the duo.

The album was launched digitally on Aug 8 after being postponed for three months.

“We want to see the response on our digital sales before releasing it in the physical format. It is a great way to introduce the album to the people,” he said, adding that the digital release is in support of Universal Music’s website for digital downloading called Music Myne. The website will be officially launched at the end of the year.

“Even if there are only 200 people buying it, I would still be happy. It shows that there are people out there who listen to us,” he said.

However, the mainstream radio stations have not been giving the much-needed support to aLi.

“We have distributed the album to several radio stations including the big ones. They have yet to play our songs,” he said.

As for the future, both Roslan and Mukhlis have big plans for the band.

“I want to bring back the good old days of RAP where we travelled around the globe. I want to bring aLi to that level of success and we are ready for a tour.” Roslan plans to hold aLi’s album launch in Singapore later this year.

“The launch is a gift for our fans there,” he said.

Roslan also expressed his dismay at the current scenario of the local entertainment scene.

“We need to be more musically literate. Singers and artistes should pursue higher education. Most of the younger generation of artistes are too ignorant and they will have trouble sustaining themselves in the industry,” he said.

Roslan also hopes that the media will give the right coverage to the deserving artistes.

“There are a lot of singers and artistes who are doing more than the mainstream. Look at Laguna Records, Butterfingers, Love Me Butch and Sasi The Don who have braved their way through the industry with their hard work,” he stressed.

“We have a lot of talents here, but there is not much coverage on them. It is time to change that mentality,” he said.

“Only then, readers and fans will be able to see the real musicians and singers who are producing the goods,” he said.

A curious mind would wonder what inspires a music genius like Roslan to create countless hits including Lagenda, Gemilang, Wanita, Sinaran and more.

“Honestly, my kids inspire me. I would be paralysed without them,” said the father of five.

And when asked what life would be without music, he said: “According to my mother, music has been in me ever since I was born. I can’t imagine my life not making music.”

2008-08-26T21:06:00.007+08:00

Roslan Aziz finds, signs and nurtures genuine talent. (Malaysian music firm Roslan Aziz Productions)

From:Billboard
Date:August 20, 1994
Author:Nuvich, Alexandr

KUALA LUMPUR--Over the past five years, Roslan Aziz Productions has developed into Malaysia's strongest independent music company through a shrewd understanding of the local market. Just recently, this strategy attracted the attention of Warner Music International, which acquired a 49% stake in the firm (Billboard, June 11) as the latter looks at overseas opportunities for local artists.

"Malaysia was never thought of as having a music industry per se," says Bodeng Edruce, RAP creative director. "It was just another album-selling market. There are still a lot of local artists who think of it as a platform to something else."

In a market where artists have been known to ...

2008-08-20T12:58:00.004+08:00

RAJA ATILIA LIVE !!

2008-08-19T23:45:00.001+08:00

RELEASED 08-08-08

2008-08-08T20:16:00.008+08:00

P RAMLEE the Musical

2008-08-05T14:31:00.014+08:00

Soulful vibrations

By N. RAMA LOHAN

entertainment@thestar.com.my

This isn’t the first time the late great P. Ramlee’s music has been interpreted in a musical, though – it was staged last year by Enfiniti Productions as well. Yet, there is always a significance in revisiting his exquisite body of work.

“It’s the same reason I did Legenda (with Sheila Majid) 20 years ago, I guess. This is a way to introduce – to a younger audience – his works and his passion. Then, this is also a tribute for all those who love him.

“And for all of us musicians, another round of textbook lessons ? this is perhaps another golden opportunity to re-affirm that this old man Ramlee is not an over-rated figure. And finally, for those who simply miss him ? our very dear father of music.”“You can go on and on, interpreting the music and turning it upside down, improvising it, rocking it out for many years to come ? and it’ll still be refreshing. You constantly discover and learn new things.

“He introduced a sense of eclecticism to Malay music.”This second instalment of P. Ramlee The Musical sees foreign and Malaysian musicians sharing the stage for a common cause. Making up the horn section are Walter Simonsen, Harry Kim and Ben Burgett. Renowned American session guitarist, Randy Bernsen, who has worked with the likes of Herbie Hancock, Wayne Shorter, Toots Theilemans, Michael Brecker, and Jaco Pastorius, leads the proceedings in the six-string department.

Our very own talent includes the likes of Jimmy Tan (Tempered Mental) on drums, FLY on bass, Roslan’s collaborator, conductor and keyboardist Jason Voo, pianist Tee Kay, Eddie (from Slam) and Sze Zee Wan on keyboards, and Duan (Seven Collar T-shirt) on guitar. The very talented UiTM students shoulder backing vocal responsibilities.

If we – as Asians and foreigners to western music – can interpret what we hear from around the world, there should be no issues for the situation to be in reverse. “I always love the way other musicians from a different environment and musical palette interpret P. Ramlee’s songs. It’s refreshingly beautiful and from another perspective, unique, too,” he says. “Miles Davis should have done a P. Ramlee song,” quips Roslan.

But why would anyone want to catch the second instalment of this musical so soon, especially since the last was staged only a year ago? Roslan provides one sure-fire response: “This time, you will come back.”

His faith lies in the thought that P. Ramlee was a one-of-a-kind individual. “The uniqueness in P. Ramlee is his heart ... the instrumentation will try to interpret that.”

08-08-08

2008-08-05T06:52:00.001+08:00

'aLi
DEBUT ALBUM

RELEASE NATIONWIDE
08-08-08

AVAILABLE ONLINE
WORLDWIDE

produced and mixed by roslan aziz
all songs written by mukhlis nor

presented by
roslan aziz productions
&
universal music malaysia

Roslan Aziz Productions is a trademark owned by
Adhicipta (M) Sdn Bhd. (Semua Hakcipta Terpelihara)
All Copyright Recordings/Artwork/XHTML © 2008 Troka Estate.
[All Rights Reserved]

An Interpretation of JENTAYU by Fair

2008-07-22T12:16:00.003+08:00

Satu Kelainan Pemikiran
Menulis Demi Cinta - Fair
Interpretasi : Lirik Jentayu - Tongkat Warrant

Satu Interpretasi : Jentayu

Salam semua, saya akan cuba mengupas apakah yang ingin dinyatakan dari lagu Jentayu ini. Ini adalah interpretasi saya untuk semua dari satu kelainan pentafsiran, demi cinta untuk semua !

Lagu : Johan Nawawi
Lirik : Allahyarham Usman Awang (Tongkat Warrant)
Penyanyi : Shiela Majid & Nora
Penerbit (Published by): Musicworks
Produksi (Produced by) : Roslan Aziz Productions

Jentayu

\\ Saya belum menggoogle sepenuhnya tentang burung Jentayu. Bila di”mabuk”kan fikiran, saya mendapat tiga tafsiran “karut-kerut” iaitu : Jentayu = Jentera Melayu, Jentera Ayu (Pejuang Wanita) dan Jeneral T’Akhir Melayu.

Di paruhmu kemilauan sinar

\\ Senjata yang digunakan baik mata pedang ataupun mata pena berdasarkan prinsip berprinsip yang “Haq” atau benar

Menyepuhi sejuta rasa
\\ Memulihkan jiwa semua

Kemuliaan di hatimu
\\ Niat dan perbuatan yang ikhlas : Kerana Allah

Bening budi terdampar di jagat raya

\\ Apa yang dilakukan masih belum terlihat sepenuhnya oleh mereka yang tidak mampu memandangnya

Di sayap taufan kau jelajahi
\\ Berani untuk berjuang walau dalam pentas / gelanggang pertarungan yang amat kejam

Awan gemawan membawa rindu
\\ Mereka yang dapat melihat ditafsirkan sebagai awan kerana sifatnya yang meneduhkan dan menangiskan hujan rahmat. Mereka ini adalah para-para solehin & solehah yang bibir tidak pernah kering melafazakan doa untuk perjuangan pejuang-pejuang Islam. tanda-tanda kenabian Nabi Muhammad S.A.W juga salah satunya dikaitkan dengan awan yang memayungi baginda.

Kasihmu menentangi kezaliman
Ketidakadilan
\\Cintanya para pejuang demi untuk mempertahankan bangsa dan agama. Mereka melawan segala bentuk kezaliman (baca : ketidakadilan dalam membuat sesuatu keputusan = berat sebelah = meletakkan sesuatu tidak pada tempatnya yang sepatutnya)

( korus )
Jentayu
Patah sayap bertongkat paruh
\\ Sayap : Jasad seluruhnya terutama kudrat 4 kerat (tangan dan kaki)
\\ Paruh : Kata-kata / tulisan / karya seni sepenuh ikhlas

Jentayu
Patah paruh bertongkat siku
\\ Siku : Kudrat empat kerat yang masih tersisa

Jentayu
Patah siku bertongkat dagu
\\ Dagu : Kata-kata / tulisan / karya seni yang masih berbisa

Jentayu
Patah dagu bertongkat kuku
\\ Kuku : Istiqamah hati. Senjata yang paling terakhir (juga paling ampuh : kuku adalah penting untuk spesies burung memantau dari ranting yang atas), maka apabila menggunakan kuku maka jasad Jentayu pasti telah mencecah tanah setelah bertarung di udara bebas penuh ikhlas.

\\ Uniknya lirik ini mempunyai frasa “Tongkat” seperti mana Nurbisa ak.a. Loloq untuk lagu Berikan Nur Bisa. Seperti lagu ini bagai mencerminkan perjuangan mereka berdua !

\\Tafsiran Korus Secara Pukal : Pejuang yang sebenar tidak akan gentar dan mengaku kalah, mempertahankan yang haq (untuk yang layak). Pejuang sebenar (terpilih) pasti dikurniakan ilhamkan sejuta cara. Akhirnya jika ditakdirkan menitiskan darah terakhir, maka cintanya telah dijulang ke langit diraikan dan diiringkan oleh para malaikat bersama tasbih tiada tara.

Pinjamkanlah hatimu
Untuk semua
\\ Semoga sejarah pejuang yang tiada atau masih ada akan melahirkan pejuang-pejuang lain yang lebih hebat. “Fussion Reaction” / Rantaian Teori Domino.

( ulang korus 2X )

Pinjamkanlah syahdumu

\\ Bisakah kita merasai nikmatnya perjuangan mereka ? Tiada syahdu yang lebih agung dan damai di hati selain dari perjuangan kerana Allah S.A.W ! Syahdukan dirimu dengan ingatan yang sentiasa “echo” akan kasih sifat-sifat-Nya. Pelajarilah sifat 20 & carilah guru yang MURSYID.

Marilah kita sedekahkan al-Fatihah kepada Allahyarham Usman Awang & semua muslim yang hidup dan telah meninggalkan kita.

“Harimau mati meninggalkan belang, manusia mati meninggalkan permata, cuma perlu digilap : pada mata kita agar terang menyaksikan keindahan permata itu. Mata nilai Permata”

Fairuz Hafeez
Mentafsir Demi Cinta

HARING written by MUKHLIS NOR of a L i

2008-07-20T01:10:00.018+08:00

Mengupas Syair : Haring seperti yang dipersembahkan oleh a L i

Haring ("The Album" Version)

Ku usik kenangan lama
Bermusim yang hujan dan kering
Helang seraya membisik kepadanya
Adapun ini khabar yang penting

Kemuning berbunga
Di musim dedaunnya kering
Helah ku bertanya tetapi mengah
Mengapa yang ku terbau haring?

Lain ayunan
Terjadi lagi
Orang bulan, orang tepi jalan
Dapat memahami keadaan ini

Ku usik kenangan lama
Bermusim yang hujan dan kering
Helang seraya membisik kepadanya
Adapun ini khabar yang penting

Kemuning berbunga
Di musim dedaunnya kering
Helah ku bertanya tetapi mengah
Mengapa yang ku terbau haring?

Lain ayunan
Terjadi lagi
Orang bulan, orang tepi jalan
Dapat memahami keadaan ini

Lain ayunan
Terjadi lagi
Orang bulan, orang tepi jalan
Dapat memahami keadaan ini

Lain ayunan
Terjadi lagi
Orang bulan, orang tepi jalan
Dapat memahami keadaan ini

Posted by Perantau
Adhicipta (M) Sdn Bhd. Semua Hakcipta Terpelihara. Artwork/XHTML © 2008 Troka Estate. [All Rights Reserved]

ONE RHYTHM - OUR OFFICIAL WEBSITE

2008-07-18T02:46:00.005+08:00

twentyears Compilation 88-08

2008-07-13T13:24:00.003+08:00

twentyears 88-08 compilation

2008-07-13T04:15:00.004+08:00

twentyears 88-08

2008-07-13T03:43:00.002+08:00

roslan aziz productions @ facebook

2008-07-13T03:03:00.002+08:00

Available ONLY ONLINE - Unrelease-RARE Recordings

2008-07-06T23:41:00.011+08:00

a L i Special Pre-Release O N L I N E ONLY

2008-07-06T19:47:00.017+08:00

a L i BUY-O N L I N E Special Pre-Release - Now Available

2008-07-06T09:33:00.015+08:00

Roslan Aziz's Music - NOW made Available - ONLINE

2008-07-06T07:29:00.008+08:00

the Music of Roslan Aziz - Available NOW - O N L I N E

2008-07-05T23:02:00.012+08:00

a L i - Available NOW - Buy O N L I N E

2008-07-05T22:58:00.007+08:00

2008-07-04T10:58:00.029+08:00

1989 - Sinaran - Sheila Majid

1990 - HIJAU - Zainal Abidin

1991 - IKHLAS tapi Jauh

1992 - LEGENDA Live vol 1and 2 - Sheila Majid

1992 - HIJAU ( Japan ) - Zainal Abidin

1993 - IKHLAS Live vol 1 and 2 - RAP Artistes

1993 - ONE RHYTHM - R.A.P. Artistes

1993 - ORAK AREK - Zainal Abidin

1993 - IKHLAS ( Japan ) - R.A.P. artistes

1994 - ONE RHYTHM(s.America/Europe)-R.A.P. artistes

1994 - GAMAL - Zainal Abidin

1994 - GEMILANG - Sheila Majid

1995 - WANITA ( Japan/Europe ) - Sheila Majid

1995 - RATU - Sheila Majid

1996 - RATU ( UK / Europe ) - Sheila Majid

1996 - R.A.P. 96 - R.A.P. Artistes

1996 - JENTAYU - Johan Nawawi

1996 - R.A.P.96 ( Japan ) - R.A.P. artistes

1997 - R.A.P.96(s.America/Europe)-R.A.P. artistes

1997 - KARMA - Karma

1998 - KARMA ( Japan ) - Karma

2003 - NONTERRO - a L i

2003 - SALAH SANGKA - Atilia

2004 UNA - a L i

2007 - HARU BIRU - Roslan Aziz

2007 - radio EDITS - a L i

2008 - the ALBUM - a L i

2008 - the BOX - a L i

2008-06-27T23:10:00.017+08:00

IKHLAS ALBUM - R.A.P.TWENTYEARS 88-08™
Audio/Visuals from the Roslan Aziz Productions Archives™ ® ALL RIGHTS RESERVED 2008
owned by AdhiCipta™ ® ALL RIGHTS RESERVED 1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
IKHLAS ALBUM - 1991
Labels : Warner Music R.A.P.™

Artiste : Zubir Ali Sheila Majid Afdlin Shauky
Zainal Abidin Amir Yussof Azman Warren
Produced and Mixed by Roslan Aziz
Executive Producer Kamarudin Meranun
Styling by Maggie Abang saufi and Allahyarham Mood Omar
Management & Marketing:Bodeng Edruce & Weng Sulaiman
of Roslan Aziz Productions™
Musical Arrangements by Roslan Aziz Jenny Chin
Erwin Gutawa Mac Chew

Album Designed by Bulan dan Bintang2

Administered by Real Music Network

2008-06-27T21:56:00.014+08:00

LEGENDA LIVE - R.A.P.TWENTYEARS 88-08™
Audio/Visuals from the Roslan Aziz Productions Archives™ ® ALL RIGHTS RESERVED 2008
owned by AdhiCipta™ ® ALL RIGHTS RESERVED 1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
LEGENDA LIVE - 1991
Promoter: R.A.P.™

Artiste : SHEILA MAJID
Produced and directed by Roslan Aziz
Executive Producer Kamarudin Meranun
Styling by Maggie Abang saufi and Allahyarham Mood Omar
Management & Marketing:Bodeng Edruce & Weng Sulaiman
of Roslan Aziz Productions™
Musical Direction by Roslan Aziz Jenny Chin Mac Chew

Administered by Real Music Network

2008-06-27T21:05:00.015+08:00

BUNYI GITAR CONCERT- R.A.P.TWENTYEARS 88-08™
Audio/Visuals from the Roslan Aziz Productions Archives™ ® ALL RIGHTS RESERVED 2008
owned by AdhiCipta™ ® ALL RIGHTS RESERVED 1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
BUNYI GITAR CONCERT 1989
Promoter: R.A.P.™ Bebop Productions

Artiste : SHEILA MAJID
Produced and directed by Roslan Aziz
Executive Producer Kamarudin Meranun and Shahrin Majid
Styling byAllahyarham Mood Omar
Management & Marketing : Roslan Aziz Productions™
Musical Direction Roslan Aziz Jenny Chin Mac Chew

Administered by Real Music Network

2008-06-27T20:40:00.006+08:00

SHEILA MAJID - R.A.P. TWENTYEARS 88-08™

Roslan Aziz Productions™®ALL RIGHTS RESERVED 1988
Owned by AdhiCipta™®ALL RIGHTS RESERVED1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
SHEILA MAJID - 1991 - 1997
Discography: 1Legenda Live 2 Ikhlas 3 Ikhlas Live 4 Gemilang
5 In Japan 6 Ratu 7 R.A.P.96
Albums Produced and Mixed by Roslan Aziz

Photography by Tim Bauer
Styling by Elly Armani
Management & Marketing Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz Mac Chew Jenny Chin

Roslan Aziz Productions™ Archives ® ALL RIGHTS RESERVED1988 owned by

Administered by Real Music Network

2008-06-27T03:52:00.013+08:00

HIJAU ALBUM - R.A.P.TWENTYEARS 88-08™
Audio/Visuals from the Roslan Aziz Productions Archives™ ® ALL RIGHTS RESERVED 2008
owned by AdhiCipta™ ® ALL RIGHTS RESERVED 1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
HIJAU - 1990
Label : R.A.P.™ Warner Music

Artiste : ZAINAL ABIDIN
Produced and Mixed by Roslan Aziz
Executive Producer Kamarudin Meranun
Songs by Mukhlis Nor
Photography by Simon Chin
Styling by Maggie Abang Saufi and Allahyarham Mood Omar
Management & Marketing : Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz Jenny Chin Mac Chew

Administered by Real Music Network

2008-06-27T03:33:00.008+08:00

AMIR YUSSOF - R.A.P. TWENTYEARS 88-08™

Owned by AdhiCipta™®ALL RIGHTS RESERVED1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
AMIR YUSSOF - 1991 - 1996
Discography: 1 Ikhlas tapi Jauh 2 Ikhlas Live

Albums Produced and Mixed by Roslan Aziz
Songs by Mukhlis Nor and Amir Yusuf
Photography by Simon Chin
Styling by Maggie Abang Saufi and Allahyarham Mood Omar
Management & Marketing Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz Mac Chew Jenny Chin

Roslan Aziz Productions™ Archives ® ALL RIGHTS RESERVED1988 owned by

Administered by Real Music Network

2008-06-27T02:28:00.008+08:00

Malaysia's First Single - R.A.P.TWENTYEARS88-08™
Audio/Visuals from the Roslan Aziz Productions Archives™ ® ALL RIGHTS RESERVED 2008
owned by AdhiCipta™ ® ALL RIGHTS RESERVED 1994

Roslan Aziz Productions™88-08

Audio/Visuals from the Roslan Aziz Productions™ Archives ® ALL RIGHTS RESERVED 2008

TWENTYEARS 88-08™
BUNYI GITAR SINGLE - 1988
Label : R.A.P.™ EMI Malaysia

Artiste : SHEILA MAJID
Produced and Mixed by Roslan Aziz
Song by Tan Sri Dr. P. Ramlee
Photography by Shenji Ono
Styling by Maggie Abang Saufi
Management & Marketing : Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz and Mac Chew

Administered by Real Music Network

2008-06-27T01:08:00.014+08:00

ZAINAL ABIDIN - R.A.P. TWENTYEARS 88-08™

Owned by AdhiCipta™®ALL RIGHTS RESERVED1994

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™
ZAINAL ABIDIN - 1989 - 1994
Discography:1Hijau 2Orak Arek 3Ikhlas 4Ikhlas Live 5GAMAL

Albums Produced and Mixed by Roslan Aziz
Songs by Mukhlis Nor
Photography by Din Azzbegozz
Styling by Maggie Abang Saufi
Management & Marketing Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz Mac Chew Jenny Chin

Administered by Real Music Network

LEGENDA - 1990 - R.A.P. TWENTYEARS 88-08™

2008-06-26T23:31:00.018+08:00

R.A.P. TWENTYEARS 88-08™

TWENTYEARS 88-08™
LEGENDA - A Tribute to Tan Sri Dr. P. Ramlee - 1990
Label : R.A.P.™ ToshibaEMI EMI Malaysis

Artiste : SHEILA MAJID
Album Produced and Mixed by Roslan Aziz
Songs by Tan Sri Dr. P. Ramlee
Photography by DIN ASBEGOZZ
Styling by Maggie Abang Saufi
Management & Marketing Bodeng of Roslan Aziz Productions™

Musical Arrangements by Roslan Aziz Mac Chew Jenny Chin

Administered by Real Music Network

ZUBIR ALI - R.A.P. TWENTYEARS 88-08™

2008-06-26T20:42:00.006+08:00

TWENTYEARS 88-08™
The first artiste to be signed under R.A.P.™ - 1988

Label : R.A.P.™ Warner Music International

Artiste : ZUBIR ALI - 1988 - 1997
Discography : 1- Ihklas Tapi Jauh 2 - Ikhlas LIVE 3 - R.A.P. 96
Photograhed by Simon Chin
Albums Produced and Mixed by Roslan Aziz
Songs by Zubir Ali

Musical Arrangements by Roslan Aziz and Mac Chew

Administered by Real Music Network

SINARAN in JAPAN - R.A.P. TWENTYEARS 88 - 08™

2008-06-25T21:18:00.029+08:00

Roslan Aziz Productions™88-08

TWENTYEARS 88-08™

Sinaran - Publicity and Promotions in Tokyo 1988/89
Label : R.A.P.ToshibaEMI EMI Malaysia

Sheila Majid - Sinaran
Photograhed by Shenji Ono in Tokyo
Styling by Michi Yasagawa and Maggie Abang Saufi
Executive Producer Shin Miyoshi
Album Produced and Mixed by Roslan Aziz

Artiste Management and Marketing Bodeng of Roslan Aziz Productions™
and Tomi Hikeda of ToshibaEMI

FIRST MALAYSIAN RELEASE in JAPAN - TWENTYEARS 88-08™

2008-06-25T19:25:00.027+08:00

TWENTYEARS 88-08™

The first Malaysian release in JAPAN - 1988
Label : R.A.P. EMI Toshiba EMI Malaysia

Sheila Majid - Sinaran
Photograhed by Yori Anakawa
Album Designed by Shenji Ono
Album Produced and Mixed

by Roslan Aziz in Oct 1987 @ The Terra Studios Tokyo

Musical Arrangements by Roslan Aziz,Jenny Chin and Mac Chew

2008-06-25T02:42:00.002+08:00

"O son of Adam,
if you have collected anything in excess of your actual need, you will act only as its trustee for someone else to use it."

The Story of Bismillah

2008-06-25T01:42:00.006+08:00

The Story of Bismillah

Bismillah plays an important role in Islamic Culture. Following the practice of the Holy Prophet Muhammad, peace and blesssings be upon him and his Household (Ahlul Bayt), Muslims begin with the name of Allah before doing anything. Bismillahir-Rahmanir-Rahim is translated as "In the name of God, the Compassionate, the Merciful". Bismillah occurs at the head of every chapter (surah) in the Holy Qur'an, with the exception of the 9th chapter, Surah al-Baraa'at (also called Surah al-Tawbah). Calligraphers have written bismillah in many ways. This pictorial gives us a unique opportunity to look at some of the ways bismillah can be written.

In a letter on behalf of Prophet Muhammad,
peace be upon him and his Household

This bismillah is taken from a letter written on behalf of Prophet Muhammad [s] to the Ruling Archbishop of Egypt. The letter was written in the fifth year after Hijrah (627 CE). This letter is preserved in the Topkapi Museum, in Istanbul, Turkey. The actual inscriber is not known. The Holy Prophet [s] used to ask several different companions to write on his behalf. Among them was a young companion named Zaid bin Thabit.

Written at the time of Uthman b. Affan

This is from one of the earliest copies of the Holy Qur'an housed in the Topkapi Museum, Istanbul, Turkey. This copy of the Qur'an is one of the original manuscripts written at the time of Uthman's caliphate. Another original manuscript from the same period is on display at the Tashkent Museum in Uzbekistan.

Written by Amir al-Mu'minin, Ali b. Abi Talib, peace be upon him

This bismillah is written on deerskin by Imam Ali b. Abi Talib, peace be upon him.

Bismillah in calligraphical styles:

Bismillah is still written with the same letters, but the calligraphy has certainly changed. Here are some of the samples of bismillah written in different calligraphical styles. The name of the style is written below them.

Muhaqqaq

Eastern Kufi

Nakshi

Modern Kufi

Bismillah Today:

The bismillah above is written in Nastaleeq script. This is the same script in which Urdu in India and Pakistan and classical Farsi in Iran are written. Until ten years ago, all newspapers in Pakistan were handwritten in this script. But now several computers equipped with the Nastaleeq fonts are used. Arabic and Persian languages nowadays are written in Naskh script. Turkish, Malay, and Bangla languages at one time used to be written in Naskh script before the Arabic script was abandoned.

2008-06-24T23:46:00.006+08:00

Saturday, 21 June 2008

Alahai Roslan Aziz

Salam...

Semalam adalah baca harakah skit...terbaca ler tajuk Roslan Aziz mintak maaf kat sebuah parti politik kat Malaysia...dlm hati..menda pulak mamat ni buat sampai nak mintak maaf...pastu aku masuklah kat blog dia http://roslanaziz.blogspot.com/ ...oooo..baru leh faham...

"'Orang yang tahu fasal agama, ego dia lebih tinggi. Cuba kita pergi kepada seorang ustaz dan kata kepada dia, hadis ustaz salah, sanad tak betul. (Awak) ingat dia boleh terima? Mereka ini hendak tunjuk suci,' katanya kepada Malaysiakini...tulah antara kata2 Roslan lanjutan dari kontroversi konsert Ella dan Mas Idayu yg dijadualkan kat Selangor...

Aku bukan nak lebih2 pasal hal ni...lagipun Sdr Roslan dah buat permohonan maaf...bkn jugak disebabkan kenyataan tu ditujukan pada parti politik tertentu kerana aku bknlah ahli pada mana2 parti...cuma bagi aku kenyataan yg dibuat Roslan menghina golongan ulamak dan secara tak langsung menghina Islam...ulamak adalah pewaris nabi..tak kira dr parti mana..

Sebenarnya malas aku nak ulas panjang isu ni...blog nipun bkn blog politik..just blog peribadi jer..tapi sebagai Muslim aku rasa wajib bg aku mengatakan sesuatu...cukuplah Islam dihina...paling sedih dihina oleh org Islam sendiri...maybe isu nipun dah basi kat Msia...biasalah isu2 yg melibatkan agama susah nak jadi sensasi kat Msia jika nak dibandingkan isu2 lain..artis ke..minyak ke...malah isu hina Nabi pun kurang mendapat reaksi org ramai....

Teringat kata2 Naqib kat Majlis Ilmu....
"zaman sekarang ni,..org akan kata mcm2 kat umat Islam yg buat demo ke,tunjuk perasaan ke mengatakan perasaan/bantahan masing2 bila org hina Nabi kita...sekurang2nya ada jugak dihati mereka perasaan cintakan Nabi...kalau kita tak rasa apa2 langsung bila org Hina agama kita,hina Nabi kita..taktaulah apa saya nak kata...cuba cek balik diri kita...hati dah gelap kot..."

Maaf ler kalau ada tersilap kata...hehehe
Salammm...

Kalau dalam Akademi Fantasia boleh lah

2008-06-24T23:34:00.005+08:00

Bila yang tak reti agama bercakap

Published June 17, 2008 in Isu Semasa. 0 Comments

Sungguh pedih dan tajam kata-katanya umpama mengkritik peserta Akademi Fantasia yang menyanyi dengan suara sengau dan serak.

Kalau dalam Akademi Fantasia boleh lah nak hentam tapi dalam bab agama sori la ye. Suara saudara tidak akan diterima bulat-bulat oleh mereka yang mendengar. Mungkin sudah biasa mengkritik budak-budak hingusan di atas pentas kini masih lagi terbawa-bawa ke alam realiti bercakap tanpa memikirkan akibatnya.

Adakah dikatakan ego jika kita ingin menjadikan masyarakat semua berkelakuan baik bukan seperti artis yang tahu melolong sahaja? Adakah suara manja Ella dan lenggokan pinggul Mas Idayu boleh membawa penonton mengingati mati?

Rasanya jika keimanan telah tersemat di dalam hati sesiapa sahaja akan menyokong tindakan Pemuda Pas Selangor membantah konsert tersebut. Melainkan saudara Roslan Aziz sudah tiada penghayatan Islam dalam dirinya ataupun memang sudah keluar Islam.

Dia juga mempersoalkan tentang kesahihan Hadis yang dibaca atau dibawa oleh seorang Ustaz Pas yang terlibat dengan amar makruf nahi mungkar yang mana Al-Quran dan Hadis sudah sebati dengan diri Ustaz untuk menjadi pedoman hidup tetapi dia sendiri lupa bahawa dia masih lagi bersekongkol dengan Syaitan dalam menjadikan manusia seluruhnya sesat.

Orang Pas menggunakan Islam dalam politik sebagaimana Nabi juga membuat begitu dengan tidak memisahkan agama dan siasah ( politik ) tetapi Umno menggunakan Islam untuk menjadi make up dan memperindahkan kata-kata tetapi isi Islam tidak dijadikan panduan.

Dalam Umno yang baik ada orang-orang senget. Orang-orang alim, lebai-lebai yang baik pula dalam parti senget

Mengaku pula dia dalam Pas memang terdapat orang alim dan lebai tetapi kenyataannya yang menyindir ini membuktikan lagi dia memang tidak suka dengan apa yang Pas bawa. Menyifatkan parti Pas sebagai senget samalah seperti kata-kata Abu Jahal Moden ini berkata kepada Nabi ketika mana diajak meninggalkan sembahan nenek moyang mereka.

Sunnatullah telah termaktub perjuangan untuk menegakkan kalimah Allah bukanlah mudah dan dekat jaraknya. Semua ini merupakan tayangan peristiwa-peristiwa lampau yang berbeza pelakonnya pada zaman ini.

Semoga Allah memberikan kekuatan kepada penolong-penolong agama Allah dalam mengharungi liku-liku perjuangan.

... Roslan Aziz menampakkan dirinya sebagai seorang Syiah, ...

2008-06-24T23:01:00.006+08:00

Wednesday, June 18, 2008

Idiot 2X

When I am feeling a little bit angry, my English cannot present my anger and arguments. So I just would love to mumble in Malay...

Aku rasa kenyataan Roslan Aziz itu memang sudah cukup bodoh dan lumat dikerjakan oleh golongan agama seperti yang dinyatakan Roslan. Tetapi apa yang menarik, ada orang yang dua kali lebih bodoh daripada Roslan Aziz ini. Wah, kerana Roslan Aziz menampakkan dirinya sebagai seorang Syiah, terus dibela dengan berkesan oleh seorang sympathizer (?) Syiah.

Saudara Faisal menjustifikasikan sokongannya kepada Roslan Aziz dengan analogi seorang artis bernama Fairuz. Itulah, kalau tidak faham isu, jangan mengada-ngada ingin tunjuk hero untuk kelihatan "liberal". Roslan Aziz itu atau Mas Idayu mempunyai hati sama dengan Fairuz kah? Roslan Aziz juga menyayangi Ulama' di negara kita kah sehingga menghina orang agama dan membuat generalization kepada semua orang agama? Samakah antara Fairuz dan Roslan atau Mas Idayu? Ada ke tak Mas Idayu menyatakan mengagumi Ayatollah Khomeini atas Revolusi Iran?

Apakah faedah yang didapati saudara Faisal dari kenyataan ini? Membalun orang agama dan membela kaum penyanyi seperti Roslan Aziz? Rasanya makhluk seperti Roslan Aziz itu memang telah memahami Islam, tetapi atas dasar Islam itu amat ketat berhubung hal-hal berhibur, begitulah manusia aka Muslim yang bullshit bertindak!

Ya, seruan hikmah diperlukan ke atas penyanyi tetapi kenyataan sampah seperti apa yang diucapkan saudara Faisal bukanlah situasi menang-menang. Mungkin kini sudah cukup berhikmah? Kerana tiada kedengaran siapa pun di kalangan pemimpin PAS yang melaknat Roslan Aziz? Adakah golongan artis memahami keadaan dakwah bilhikmah pemimpin PAS ini?

Cuba saudara Faisal nyatakan apakah formula yang paling tepat untuk berhadapan dengan golongan artis? Mempromosikan Syiah dan berjayalah dunia dan akhirat? Bullshit! Pejuang Fasal 5 konon!

Argh Faisal Tehrani, kad persembahan markah anda masih sifar.

0 comments:

In the Name of Allah, Most Gracious, Most Merciful.

2008-06-24T22:29:00.006+08:00

"O you who believe! Avoid most of suspicion, for surely suspicion in some cases is a sin, and do not spy nor let some of you backbite others. Does one of you like to eat the flesh of his dead brother? But you abhor it; and be careful of (your duty to) Allah, surely Allah is Oft-returning (to mercy), Merciful." (49:12)

...duduk berbincang dan berkerjasama

2008-06-24T22:17:00.002+08:00

Posted by yussamir

Altenatif

Oleh: Yussamir Yusof
20 Jun 2008
Cyberjaya
www.yussamir.com
http://tetasan.blogspot.com

“Orang agama tunjuk ego.”

Saya tertarik membaca ulasan yang dibuat oleh Roslan Aziz baru-baru ini. Ulasan ini dibuat setelah Pemuda Pas menghalang konsert yang bakal dianjurkan di Selangar. Apa yang menarik ialah, pandangan yang dibuat oleh beliau ini menujukkan bahawa orang awam sememangnya sudah bosan dengan telatah orang agama.

“"Orang yang tahu fasal agama, ego dia lebih tinggi. Cuba kita pergi kepada seorang ustaz dan kata kepada dia, hadis ustaz salah, sanad tak betul. (Awak) ingat dia boleh terima? Mereka ini hendak tunjuk suci,"(Roslan Aziz dalam Malaysiakini)

Bukan nak menyokong mana-mana pihak, tetapi seharusnya para agamawan sedia untuk dikritik dan sedia untuk memberi altenatif. Namun, apabila ada sahaja Mufti yang berkeinginan untuk turut sama turun dalam dunia hiburan, dengan menyediakan lirik-lirik dan lagu-lagu yang berteraskan membawa manusia ke arah menghayati Islam. Maka ada pula mulut-mulut yang berasa tidak selesa dengan tindakan luar ‘tabi’e’ Mufti ini. Mereka menghalang konsert-konsert yang didalamnya terdapat pelbagai unsur-unsur yang membawa kepada maksiat. Tetapi mereka tidak pernah untuk menyediakan ruang dan altenatif agar konsert-konsert ini dijalankan dengan kadar yang mendekati landasan islam. Antaranya, menyediakan ruang konsert yang dapat memisahkan antara lelaki dan perempuan. Berkerjasama dengan para pemuzik dan karyawan dalam konteks mengubah lagu dan lirik. Menyediakan skrip-skrip filem yang membawa kepada penghayatan agama;misalnya ayat-ayat cinta, kun fa yakun dan kiamat sudah dekat.

Saya memetik lagi kata Roslan aziz:

"Tidak ada konsert, di Kelantan ada juga anak luar nikah. Ini soal pembangunan budaya. Ini juga tentang cari makan. Konsert kalau tidak benarkan, mesti beri alternatif lain,"

Sampai bila agamawan mahu bersikap seperti tuhan,jangan hanya tahu menghukum tetapi tidak pernah berusaha mencari jalan/altenatif. Begitu juga kepada para karyawan dan pemuzik, sampai bila anda mahu berkarya dengan karya-karya yang hanya mengkhayalkan manusia tetapi tidak membawa sebarang faedah kepada manusia. Hidup bukan untuk selama-selamanya. Biarlah hidup itu bererti dengan memberi sesuatu yang bererti kepada diri sendiri dan masyarakat sekeliling, terutama untuk agama. Berganding bahulah, antara satu sama lain. Islam tidak pernah menghalang hiburan, kerana fitrah manusia memang memerlukan hiburan. Dalam kehidupan bukan seluruhnya kita perlu serius dan bertekun. Islam tidak memerlukan kerahiban, Islam juga bukan agama yang mengongkong. Kata Nabi Muhammad saw dalam sebuah hadith yang direkodkan oleh Muslim, “Kemudian Rasulullah s.a.w, bersabda: "Demi Zat yang diriku dalam kekuasaannya! Sesungguhnya andaikata kamu disiplin terhadap apa yang pernah kamu dengar ketika bersama aku dan juga tekun dalam zikir, niscaya Malaikat akan bersamamu di tempat tidurmu dan di jalan-jalanmu. Tetapi hai Handhalah, saa'atan, saa'atan! (berguraulah sekadarnya saja!). Diulanginya ucapan itu sampai tiga kali."

Akhir kata, jangan menuding sesama kita. Tetapi duduk berbincang dan berkerjasama. Jangan seorang berlagak seperti Tuhan, dan seorang lagi berlagak seperti serba tahu.

WaAllahualam..

al kisah Roslan Aziz. Seniman Melayu Islam yang kehilangan identiti.

2008-06-24T22:09:00.003+08:00

KONSERT 100 HARI SELANGOR: Apabila Bekas Pengetua Akademi Fantasia Komen Pemuda PAS Negeri!

Konsert Sempena Meraikan Hari Ke-100 Kerajaan Selangor yang mendapat mandat daripada rakyat Selangor, telah dijadualkan akan disertai oleh dua artis wanita Melayu (ratu rock terkemuka Ella dan ratu dangdut Mas Idayu), tetapi mendapat bantahan rasmi daripada Pemuda PAS Selangor.

Pemuda PAS Selangor yang melalui Ketua Pemuda PAS Negeri Sallehen Mokhyi, yang telah menyerahkan memorandum bantahan kepada Nik Nazmi, berharap Tan Sri Abdul Khalid Ibrahim bertindak segera agar tidak mencetuskan ketidakpuasan hati rakan kongsi (dalam Pakatan Rakyat) khususnya PAS.

Bagaimanapun tindakan Pemuda PAS Selangor itu telah membawa kepada kenyataan balas bekas Pengetua Akademi Fantasia, Roslan Aziz! Beliau telah menyifatkan tindakan tersebut adalah bersifat propaganda PAS yang menggunakan sensitiviti keagamaan bagi mendapatkan pangaruh di Selangor memandangkan PAS hanya mendapat sokongan paling kecil berbanding parti gabungan Pakatan Rakyat, PKR dan DAP.

Adalah tidak wajar sama sekali Roslan Aziz bersuara berkenaan sensitiviti perkara tersebut kerana ia menunjukkan kelemahan penguasaan beliau terhadap pengetahuan agama Islam! Memberi komen tidaklah menjadi suatu kesalahan tetapi jika ia boleh mengelirukan pandangan umum dek kekurangan pengetahuan asas, maka lahirlah tulisan ini yang akan memberi pandangan balas terhadap Roslan.

Siapa Roslan? Layakkah si bekas pengetua Akademi Fantasia yang telah melahirkan ramai artis-artis baru (termasuk Melayu gedik) dan telah merosakkan pemikiran (melalaikan daripada hakikat sebenar kehidupan manusia) beratus ribu penonton remaja Islam? Akademi Fantasia juga telah merosakkan dan mencemarkan kesucian ajaran Islam di mata penonton bukan Islam kerana ramai artis Melayu Islam yang berpakaian mendedahkan aurat telah ditayangkan seperti tiada apa yang berlaku! Apa kata penonton bukan Islam apabila melihat contoh remaja Islam yang melalaikan?

Tidakkah saudara Roslan sendiri melihat bagaimana Akademi Fantasia telah menyebabkan ramai pemuda-pemudi Islam lebih mengenali artis-artis baru berbanding tokoh-tokoh Islam berserta sejarah Islam yang agung? Malah remaja Islam kini telah dilalaikan daripada mengenal cendikiawan-cendikiawan Islam!

Hebat sangatkah artis-artis kita ni, sampaikan ada individu yang berani mempertahankan periuk nasi artis? Lupakah Roslan siapa yang memberi rezeki kepada manusia? Kelibat dan pakaian artis selalunya mudah diikuti oleh remaja yang kehilangan identiti sendiri kerana tiada pendedahan mengenai tamadun Islam yang tinggi.

Roslan Aziz sepatutnya mengkaji dahulu kenapa tindakan seumpama yang diambil oleh Pemuda PAS atau pandangan ramai pencinta Islam kenapa konsert yang melibatkan artis mendedahkan aurat diharamkan! Ternyata Roslan telah membuat kesimpulan melulu yang dilihat mengambil kesempatan politik tersendiri! Mungkinkah Roslan terperangkap dan digunakan oleh pihak tertentu hingga mengeluarkan kenyataan tersebut yang menunjukkan beliau lemah pemikiran mantiknya?

Itulah al kisah Roslan Aziz. Seniman Melayu Islam yang kehilangan identiti. Penganalisis ingin memberi contoh artis yang boleh mendatangkan manfaat. Roslan Aziz sepatutnya melahirkan artis baru yang boleh menandingi penyanyi nasyid Indonesia tertentu, bukannya membidas Pemuda PAS Selangor tanpa usul periksa.

Wallahu `alam bissowab…

June 19, 2008 Posted by NO ISA!

ISLAM'S STANCE ON MUSIC

2008-06-24T19:12:00.017+08:00

Wa `alaykum As-Salamu wa Rahmatullahi wa Barakatuh.

In the Name of Allah, Most Gracious, Most Merciful.

All praise and thanks are due to Allah, and peace and blessings be upon His Messenger.

First of all, we would like to thank you for the great confidence you have in us. We hope our efforts meet your expectations.

Given that your objection revolves mainly around music and why it is permissible, here is the clarification for that in the light of fatwa issuedy Sheikh Yusuf Al-Qaradawi:

The whole issue of singing is controversial, whether it is with musical accompaniment or not. Some issues succeeded to gain the Muslim scholars’ agreement, while others failed. All scholars have unanimous view on the prohibition of all forms of singing and music that incites debauchery, indecency, or sin. As for musical instruments, given the weakness of the evidence indicating that they are forbidden, the rule to be applied here is the one states that all things are originally deemed permissible as long as there is no Shari`ah text that prohibits them.

Singing is no more than melodious words; if these are good, singing is considered good; but if they are bad, such singing is deemed bad. Talk that contains forbidden content is prohibited. What if that talk is accompanied with rhythm and melody?

Scholars agree on the permissibility of singing without instrumental accompaniment and where the content is not prohibited. This sort of singing is allowed only in certain occasions such as: weddings, feasts, welcoming a traveler, and the like. This is based on the hadith of the Prophet (peace and blessing be upon him) that states: “He (peace and blessings be upon him) asked, ‘Have you given the girl (i.e., the bride) anything as a present?’ They (the attendants) replied, ‘Yes.’ He asked, 'Did you send a singer along with her?' 'No', said `A'ishah. The Prophet (peace and blessings be upon him) then said, 'The Ansar are a people who love poetry. You should have sent along someone who would sing: Here we come, to you we come, greet us as we greet you.'" In this case, we can say that a woman can sing only in front of women and her non-marriageable male kin.

In the subject of musical instruments, scholars disagree on the matter. Some of them permit all sorts of singing, be it accompanied with musical instruments or not, and even consider it recommended. A second group of scholars permit singing only when is not accompanied with a musical instrument. A third group declare it to be prohibited whether it be accompanied with a musical instrument or not; they even consider it as a major sin. In supporting their view, they cite the hadith narrated by Imam Al-Bukhari on the authority of Abu Malik or Abu `Amir Al-Ash`ari (doubt from the sub-narrator) that the Prophet (peace and blessings be upon him) said, 'From among my followers there will be some people who will consider illegal sexual intercourse, the wearing of silk (clothes), the drinking of alcoholic drinks and the use of musical instruments, as lawful.' Although this hadith is in Sahih Al-Bukhari, its chain of transmission is not connected to Prophet Muhammad (peace and blessings be upon him) and this invalidates its authenticity. Ibn Hazm rejects it for that very reason. Moreover, the sub-narrator, Hisham Ibn `Ammar is declared ‘weak’ by many scholars of the Science of Hadith Methodology.

Besides, this hadith does not clearly prohibit the use of musical instruments, for the phrase 'consider as lawful,' according to Ibn Al-`Arabi, has two distinct meanings:

First: Such people think all these (the things mentioned) are lawful.

Second: They exceed the proper limits that should be observed in using these instruments. If the first meaning is intended, such people would be thus disbelievers.

In fact, the hadith in hand dispraises the manners of a group of people who indulge themselves in luxuries, drinking alcohol and listening to music. Therefore, Ibn Majah narrates this hadith from Abu Malik Al-Ash`ari in the following wording: "From among my followers there will be some people who will drink wine, giving it other names while they listen to musical instruments and the singing of female singers; Allah the Almighty will make the earth swallow them and will turn them into monkeys and pigs.” (Reported by Ibn Hibban in his Sahih)

Conclusion on Permissibility of Musical Instruments

In the light of the above, it is clear that the religious texts that stand as a basis for those who maintain that singing is haram are either ambiguous or inauthentic. None of the hadiths attributed to Prophet Muhammad (peace and blessings be upon him) is valid as evidence on the judgment of prohibition. Moreover, all these hadiths are declared ‘weak’ by the followers of Ibn Hazm, Malik, Ibn Hanbal, and Ash-Shafi`i.

In his book, Al-Ahkam, Al-Qadi Abu Bakr Ibn Al-`Arabi says, “None of the hadiths maintaining that singing is prohibited are considered authentic (by the scholars of the Science of Hadith Methodology).” The same view is maintained by Al-Ghazali and Ibn An-Nahwi in Al-`Umdah. Ibn Tahir says, “Not even a single letter from all these Hadiths was proved to be authentic.”

Ibn Hazm says, “All the hadiths narrated in this respect were invented and falsified.”

Proofs of Those Who Maintain that Singing is Halal:

First: The Textual Proofs:

They base their argument on some authentic hadiths of Prophet Muhammad (peace and blessings be upon him). One of these hadiths is the following:

`A'ishah (may Allah be pleased with her) narrated: “Allah’s Messenger (peace and blessings be upon him, came to my house while two girls were singing beside me the songs of Bu`ath (a story about the pre-Islamic war between the two tribes of the Ansar, the Khazraj and the Awus). The Prophet (peace and blessings be upon him) laid down and turned his face to the other side. Then Abu Bakr came and spoke to me harshly saying, ‘Musical instruments of Satan near the Prophet (peace and blessings be upon him)?’ Thereupon, Allah’s Messenger (peace and blessings be upon him) turned his face towards him and said, ‘Leave them.’ When Abu Bakr became inattentive, I signaled to those girls to go out and they left.” (Reported by Al-Bukhari)

This indicates that these two girls were not so young as claimed by some scholars. If they were, Abu Bakr would not have been angry with them in such manner. In addition, in this hadith, the Prophet (peace and blessings be upon him) wanted to teach the Jews that Islam has room for merriment and that he himself was sent with a moderate and flexible legislation. There is also another important lesson to learn here. It draws our attention to the fact that one needs to introduce Islam to others in a good fashion, along with displaying its moderateness and magnanimity.

Moreover, we can also cite as corroborating this Allah’s words that read, “But when they spy some merchandise or pastime they break away to it and leave thee standing. Say: That which Allah hath is better than pastime and than merchandise, and Allah is the best of providers.” (Al-Jumu`ah: 11)

In this verse, Allah Almighty joins pastime with merchandise. He does not dispraise any of them, He just only rebuked the Companions who left Prophet Muhammad (peace and blessings be upon him) alone giving the khutbah (Friday Sermon), when they all rushed to attend to the caravan and beating of the drums celebrating its arrival.

Second: In Respect of Islam’s Spirit and Basics:

It is a fact that Allah had prohibited for the Children of Israel some of the good things of this worldly life as a punishment for their misdeeds.

He says, “Because of the wrongdoing of the Jews, We forbade them good things which were (before) made lawful unto them, and because of their much hindering from Allah's way. And of their taking usury when they were forbidden it, and of their devouring people's wealth by false pretences. We have prepared for those of them who disbelieve a painful doom.” (An-Nisa’: 160-161)

Before sending Prophet Muhammad, He Almighty referred to him in the earlier scriptures as, “Those who follow the Messenger, the Prophet who can neither read nor write, whom they will find described in the Torah and the Gospel (which are) with them. He will enjoin on them that which is right and forbid them that which is wrong. He will make lawful for them all good things and prohibit for them only the foul.” (Al-A`raf: 157)

Thus, Islam left nothing good or sound but declared it to be halal (lawful). This is a sign of mercy to this Ummah (nation or community), moving along the line of its comprehensive and eternal message. Allah Almighty says, “They ask you (O Muhammad) what is made lawful for them. Say: (all) good things are made lawful for you.” (Al-Ma’idah: 4)

If we are to delve deeply into this matter, we will find that love for singing and melodic voices are almost a human instinct. We can observe an infant lying in his cradle soothed and sleeping by the sound of a lullaby. Mothers and nannies are always in the habit of singing for babies and children. Moreover, birds and animals respond to nice voices and rhythmic melodies.

Thereupon, if singing is thus a human instinct, it is not for Islam to defy humankind’s instincts. Islam came to refine and promote the human instinct. Ibn Taymyiah says, “Prophets were sent to polish and discipline man’s instinct and not to change or modify it.” This is pursuant to the hadith that reads, “When Allah’s Messenger came to Madinah, he found them (i.e., the people of Madinah) celebrating two days. He said, ‘What are these days?’ They replied, ‘We used to rejoice in these days during the pre-Islamic era.’ He (peace and blessings be upon him) said, ‘Verily, Allah Almighty has given you two alternative days which are much better: these are Al-Adha and Al-Fitr days (`Eids).’” (Reported by Ahmad, Abu Dawud and An-Nasa’i)

Moreover, if singing is to be considered rejoicing and play, these are not haram; this is in pursuant to the famous idea that man needs some time to relax a bit and rejoice. The Prophet (peace and blessings be upon him) said to Hanzalah who thought himself to be a hypocrite for his attendance to his wife and children and the change that affected him when he was apart from Allah’s Prophet (peace and blessings be upon him), “O Hanzalah! Part of your time should be devoted (to the worldly affairs) and part of time (should be devoted to prayer and meditation).” (Reported by Muslim)

`Ali Ibn Abu Talib says, “Amuse yourselves for some time, for if hearts are exposed to too much strain, they turn blind.”

Abu Ad-Darda’ said, “I refresh myself with some amusement in order to make myself stronger on the path of right.”

Imam Al-Ghazali answered someone who asked him: “Isn't singing some kind of play and rejoice?” He said, “Yes. But, all that exists in this present life is mere play and rejoice. All that takes place between a husband and his wife is play, except sexual intercourse that is the direct cause of reproducing children. This has been reported from Allah’s Messenger and his honorable Companions.”

In fact, leisure time is refreshing to the heart and alleviates its tensions at the same time. Excessive strain and efforts render the heart bored and blind. Amusing the self refreshes and renews its strength and vigor. One who continuously works hard at something should take a break for a while in order to restore and regain his energy and firm will lest he totally collapses in future. When one takes a break, he thus restores his strength and vigor. Only Prophets can stand absolute seriousness. Having leisure time is a form of treatment for diseases of the self, weariness and boredom. But, leisure should not be excessive. This will go against the whole issue of rejoicing hearts to make them able to go on.

One who is familiar with and experienced in the nature of the human heart and self knows for certain that recreation and relaxation are necessary treatments for one’s well-being.

These proofs on the permissibility of singing are extracted from the texts and rules of Islam, and these are sufficient to clarify the issue.

In addition to this, the people of Madinah, who were very pious and God-fearing, the Zahiriyyah, who were very literal regarding the textual proofs, and the Sufis, who were very strict and rigid, were all quoted to have declared the permissibility of singing.

Imam Ash-Shawkani says in his book “Nayl Al-Awtar”, “The people of Madinah and those who agreed with them from among the Zahiriyyah and the Sufis maintain that singing is permissible, even when it is accompanied by a musical instrument such as the lute or the flute. Abu Mansur Al-Bughdadi Ash-Shafi`i narrate that `Abdullah Ibn Ja`far saw nothing wrong in singing, and he, himself, used to compose the music for his own slaves who used to sing these melodies in his presence. This took place during the time of Commander of the Faithful, `Ali Ibn Abi Talib. Abu Ja`far Al-Bughdadi narrates the same after Al-Qadi Shurayh, Sa`id Ibn Al-Musaiyb, `Ata’ Ibn Abu Rabah, Az-Zuhri and Ash-Shi`bi.”

Ar-Ruwaiyani narrates on the authority of Al-Qaffal that Malik Ibn Anas maintained that singing with musical instruments is permissible. Also, Abu Mansur Al-Furani quotes Malik as maintaining that playing the flute is permissible.

Abu Al-Fadl Ibn Tahir narrates, “The people of Madinah never disputed over the permissibility of playing the lute.”

Ibn An-Nahwi narrates in his “Al-`Umdah”: “Ibn Tahir said, ‘The people of Madinah showed consensus over this (issue). Also, all the Zahiriyyah maintained the same.'”

Al-Mawardi attributes the permissibility of playing the lute to some of the Shafi`i followers and students. This has been narrated also by Abu Al-Fadl Ibn Tahir after Abu Ishaq Ash-Shirazi; and it is narrated by Al-Isnawi after Ar-Ruwaiyani and Al-Mawardi. Again, this is narrated by Al-Adfuwi after Sheikh `Izz Ad-Deen Ibn `Abd As-Salam. It is also narrated after Abu Bakr Ibn Al-`Arabi.

All these scholars consider singing that is accompanied by musical instruments permissible, but as for singing that is not accompanied by musical instruments, Al-Adfuwi says, “In some of his jurisprudence-related books, Al-Ghazali narrates the consensus of the scholars on its permissibility." Also, Ibn Tahir narrates the consensus of the Prophet’s Companions and those who succeeded them on this very topic. Ibn An-Nahwi states in Al-`Umdah that singing and listening was deemed permissible by a group of the Companions and the Followers.

Conditions and Terms:

There are some conditions and terms that should be observed regarding listening to singing, as follows:

1. Not all sorts of singing are permissible. Rather, the permissible song should comply with the Islamic teachings and ethics. Therefore, the songs praising the tyrants and corrupt rulers disagree with Islamic teachings. In fact, Islam stands against transgressors and their allies, and those who show indifference to their transgression. So, the same goes for those songs that imply giving praises to such attitude!

2. Also, the way the song is performed weighs so much. The theme of the song may be good, but the performance of the singer – through intending excitement and arousing others’ lusts and desires along with trying to seduce them – may move it to the area of prohibition, suspicion or even detest. The Glorious Qur’an addresses the wives of Prophet Muhammad (peace and blessings be upon him) saying, “O you wives of the Prophet! You are not like any other women. If you keep your duty (to Allah), then be not soft of speech, lest he in whose heart is a disease aspire (to you), but utter customary speech." (Al-Ahzab: 32) So, one has to show caution to music when there is softness of speech accompanied with rhyme, melody, and special effects!

3. Singing should not be accompanied with something that is prohibited such as alcohol, nakedness, mixing of men with women that is common in pubs and nightclubs, etc.

4. Islam has declared excessiveness as prohibited in everything. The same goes for excessiveness in leisure and recreation even though these things are permissible ! This indicates that the emptiness of the mind and heart has to be observed and tackled during man’s short-term life. One should know that Allah Almighty will ask every one about his life and his youth in particular.

There are some things in which one is to be his own judge and Mufti. If there is some kind of singing that arouses his own lust or desire, and takes him away from the real life, he should avoid it then and block that very gate from which the winds of trial and seduction may come and erase his religion, morals and heart. If he does this, he will live in peace and tranquility.

Warning against playing with the word “haram”

To conclude, we address the respectful scholars who tackle the word “haram” easily and set it free in their writings and fatwas that they should observe that Allah is watching over them in all that they say or do. They should also know that this word “haram” is very dangerous. It means that Allah’s Punishment is due on a certain act or saying, and should not be based upon guessing, whims, weak Hadiths, not even through an old book. It has to be supported by a clear, well-established text or valid consensus. If these last two are not found, then we revert the given act or saying to the original rule: "permissibility governing things". We do have a good example to follow from one of our earlier pious scholars. Imam Malik (may Allah be pleased with him) who said: “It was not the habit of those who preceded us, the early pious Muslims, who set good example for the following generations, to say, 'This is halal, and this is haram. But, they would say, ‘I hate such-and-such, and maintain such-and-such, but as for halal and haram, this is what may be called inventing lies concerning Allah. Did not you hear Allah’s Statement that reads, 'Say: Have you considered what provision Allah has sent down for you, how you have made of it lawful and unlawful? Say: Has Allah permitted you, or do you invent a lie concerning Allah?” (Yunus: 59) For, the halal is what Allah and His Messenger made lawful, and the haram is what Allah and His Messenger made unlawful.

You can also read:
What Does Islam Say on Music? .

Allah Almighty knows best.

Singing & Music: Islamic View

2008-06-24T18:51:00.003+08:00

Singing & Music: Islamic View - IslamonLine.net - Ask The Scholar: "Last Update: 01:10 GMT, Monday, Jun. 23, 2008
Living Shari`ah > Fatwa Bank
Question and Answer Details
Name of Questioner
Malak - United Kingdom
Title
Singing & Music: Islamic View
Question

As-Salamu `alaykum! In his fatwa ' Does Islam Go against Laughter? ', Sheikh Yusuf `Abdullah Al-Qaradawi stated that when Abu Bakr As-Siddeeq (may Allah be pleased with him) tried to stop two young girls from singing in the Prophet’s house, the Prophet (peace and blessings be upon him) told him: 'Let it be, for we are now in the feast.'

However, Sheikh Qaradawi did not refer to the following hadiths: Ibn Mas`ud (may Allah be pleased with him) used to swear by Allah that the ayah 'And of mankind is he who purchases idle talk to mislead (men) from the Path of Allah . . .” (Luqman: 6) referred to singing. Abu ‘Amir and Abu Malik al-Ash`ari (may Allah be pleased with them) reported that the Prophet (peace and blessings of Allah be upon him) said: “Among my Ummah will be those who make permissible al-hira (adultery), silk, khamr and musical instruments . . .” (Reported by al-Bukhari; see al-Fath"

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ISLAM'S STANCE ON MUSIC

Singing & Music: Islamic View

In a letter on behalf of Prophet Muhammad,
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