Sometimes I think it takes away the meaning of the lyrics which as posted in this thread before by other posters have deep meaning to it.
Although that is probably true for the majority of occasions, it can sometimes just be the case that editing a Qawwali/Ghazal to incorporate a modern touch will actually only help to improve its quality and euphonious nature.
Simply take a look at the original
Fasl-E-Gul Hai Sharab Pilije available upon YouTube and compare it to the remix. Admittedly, some of its contextual significance may have been lost in translation but the core of the Qawwali is still retained whilst its "beat" has been improved.
Whereas
Wich Pardesan - if I'm not mistaken - isn't even a remix of one of Nusrat's Qawwalis; it is actually a production by Dr Zeus into which he has inducted the melodious voice of Nusrat Fateh Ali Khan.
PS: That last video, what was that?
It was a Qawwali by Aziz Mian, who is held in high regard by some.
In fact, by posting that performance of
Mein Sharabi I hadn't aimed to tarnish the reputation of Aziz Mian nor to propagate my opinion that NFAK was the greatest Qawwali artist of all time. Rather, it was simply to display how key coordination and euphonious worth, along with the meaning of the lyrics themselves, is in the Qawwali genre.
After all, if acoustics weren't important in judging the merit of Qawwali, then everybody would simply read the poems themselves, wouldn't they?
Personally, I believe Nusrat was undoubtedly the greatest ever proponent of the Qawwali genre of all-time (and in fact never to be matched).
The underlying notion in the previous paragraph corresponds to my belief that the beauty of Qawwali, similarly to rap music but even more salient in the Qawwali genre, is as much due to acoustic value as it is to contextual significance/meaning.
For all I know,
Mein Sharabi may have some truly wonderful lyrics but because of the pure racket/cacophony of arbitrary, ear-aching background music (i.e the uncoordinated nature of the playing of the harmoniums) that the tune appears to be, it will never attain any recognition from me.
This assigning of priority to acoustics in Qawwali is especially important for me considering the deficient nature of my ability to understand/converse in Urdu or any other Pakistani dialects. Besides, even if I understood Urdu, I presume it would be terribly difficult to translate - never mind understand - such sophisticated poetry into English and thus because translations of Qawwalis are quite rare, I think I'll continue with my 50:50 ratio of placing emphasis upon acoustic worth/lyrical value.
Just wanted to know the meaning as I didn't know what some parts (actually most parts) were referring to and whether literal or not. However the whole rhythm etc. 
), however listening to that one and the lyrics was very good. The only question I had was the bit when it refers to 'she', who is that referring to? Is it supposed to be praise? Although I get the gist of it. (well, think I do) 
I think that understanding the lyrics gives it more meaning, than just listening to it as described before in this thread. 
