![tajdar e haram sabri tajdar e haram sabri](https://pagalworldl.com/uploads/thumb/sft9/4156_4.jpg)
Due to a government policy of encouraging folk arts through television and radio in 1967, being the dominant artists in qawwali, they were approached to record qawwalis for television and radio.
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It was not only through these records that they became celebrities, it was with their radio and television appearances also that they became familiar with classy, urban audience. EMI also licensed these records to other labels outside Pakistan, especially India, where the popularity of Sabri Brothers was as high as in their own country during the 1970s and 1980s. They kept on releasing the records of these brothers nearly every year under their label which could be counted to few hundreds during their peak years. After the formation of EMI Group’s record label EMI with their own pressing division in 1973, the release of LP and Vinyl records took a major step up in Pakistan. Because of royalty issues the names of both brothers were mentioned in the records as Ghulam Farid Sabri, Maqbool Ahmed Sabri Qawwal & Party instead of their band name which had the name of only Ghulam Farid Sabri. which was still not a record label at that time was not frequent in its releases of music records and so very few records came out from them like ‘Sar E La Makan Se Talab Hui’ and ‘Bhardo Jholi Meri’. Back cover of a record released by EMI Group in 1971 It was soon evident that a new wave has started in qawwali music. This qawwali made them famous throughout the country and a major portion of consumers of that vinyl were those people who were not even religious music enthusiasts.
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They recorded “Mera Koyi Nahi Hai Tere Siva” which became one of their biggest hit numbers till date ( It was also later featured in the Pakistani movie ‘Ishq E Habib’ in 1965).
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The turning point in their career came up when the EMI Group (EMI Ltd.) approached them to release a record in 1963. They performed in other cities too and got much acclaim in religious congregations as well as in classical music circles.
![tajdar e haram sabri tajdar e haram sabri](https://i1.sndcdn.com/artworks-000127144568-zk4hqb-t500x500.jpg)
The group started performing in musical and religious gatherings and this made them a household name in Karachi. The two brothers were very high quality singers even from their young years and when they got together produced an unique celestial style that took them to such heights as no other qawwals could have even dreamt earlier. As the elder brother, he subsequently started leading the group and the name was formally changed to ‘Ghulam Farid Qawwal and Party’. Few months later, on the insistence of their father, elder brother Ghulam Farid left Ustad Kallan Khan’s group with which he was associated and joined his brother. The original qawwali group of the Sabri Brothers was initially started by Maqbool Ahmed in Karachi with the name ‘Bachcha Qawwal Party’ when he was just eleven years old.
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All four brothers were the permanent members of the group and contributed to its success in their own capacity with full dedication. Though the name Sabri Brothers relates to the lead singers Ghulam Farid and Maqbool Ahmed Sabri, the ensemble comprised of two more brothers from the same family, Kamal Sabri and Mehmood Ghaznavi Sabri. This kind of hysteric trance is a side-effect of pure sufi music which they revived and exposed to the modern, urban audience. It was seen many a times that the hypnotized audience went into a frenzy as the brothers continued with their rendition. The intoxicating voices added to their unique style of traditional music made the spiritual experience of the audience wholesome. The champions of this cause were the two brothers Ghulam Farid Sabri and Maqbool Ahmed Shah Sabri who were the lead vocalists in their ensemble and renowned for their original style of rendering in traditional qawwali repertoire. The Sabri Brothers are regarded as the first artists who introduced the art of qawwali to global audience by unshackling it from the limits of local shrines, thereby bringing it global fame with their soulful, transcendental rendition.