‘The Lost Recording Season (1974–1978) – Vol. 1’ sees the return of a 1970s Iranian singer’s gentle, heartfelt voice: Soheil. These songs were recorded years ago, but never made it to release – and are now unearthed, lovingly restored, and made available to us, through his great-nephew Farbod Biglari. The music combines vintage Iranian song, as well as 70’s Western pop sounds. The effect is soft, warm, sincere. “Namake Zendegi (Take 1)”, the opening track is bare, and tender, with a hushed quality.
This leads nicely into “Sadaf (Take 1)”, which likewise can evoke a sense of profound emotion, while using slow, unhurried music. “Parhin” has a restful, placid quality, and has an old-time radio feel to it. “Shaayad O Baayad” is restful and contemplative, a song of pondering. “Sayehaye Zendegi” is a darker track, as the musical sounds shift slowly, allowing emotions to swell. “Yeki Bood, Yeki Nabood” has a sense of narration to it, subdued and resonant, like a tale told. “Sobh-e Khakestar” is one of the more powerful tracks on the album. It was made for a film (The Drunken Horse), and carries a mournful, hushed quality.
“Gole Booseh” is sweet, like a soft caress turned into music. Later, “Sadaf (Take 2)”, lending new shades and colours to the same song. “Faryaadres” is emotional and melancholy. “Shahanshah” is more rousing and majestic. “Namake Zendegi (Take 2)” and “Sadaf (Take 3)” are smooth and well-delivered. The closing track, “Nimeh-Ye Naatamam”, is an instrumental one, music without any vocals, and fades out, bringing the album to a quiet end. The album is a gentle and vulnerable one, like a memory of the past, recalled. It appears that Soheil’s voice was lost, but it was found again, and it still reaches right into the heart.
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