Bella Ciao From Sameer Dossani

Italian


Russian


Spanish

Lyrics:


1. part: Spanish 2. part: Italian

Castellano:

esta mañana ... me he levantado
oh bella ciao bella ciao bella ciao ciao ciao
esta mañana me he levantado y he descubierto al invasor

oh partigiano ... me voy contigo
oh bella ciao bella ciao bella ciao ciao ciao
partigiano me voy contigo porque me siento aqui morir!

Y si yo caigo ... en la guerrilla
oh bella ciao bella ciao bella ciao ciao ciao
si yo caigo en la guerrila te dejaré mi fusil

cava una fosa ... en la montaña
oh bella ciao bella ciao bella ciao ciao ciao
cava una fosa en la montaña a la sombra de una flor

asi la gente ... cuando la vea
oh bella ciao bella ciao bella ciao ciao ciao
asi la gente cuando la vea gritará ¡REVOLUCIÓN!

esta es la historia ... de un guerrillero
oh bella ciao bella ciao bella ciao ciao ciao
esta es la historia de un guerrillero muerto por la libertad


Meaning:
This morning ... I got up
oh bella ciao bella ciao bella ciao ciao ciao
this morning I got up and detected the invader

oh partigiano ... I'll go with you
oh bella ciao bella ciao bella ciao ciao ciao
partigiano I'll go with you because here I'm feeling my death

And when I fall ... in the guerrilla
oh bella ciao bella ciao bella ciao ciao ciao
And when I fall in the guerrilla I'll leave you my gun

dig a grave ... on the mountain!
oh bella ciao bella ciao bella ciao ciao ciao
dig a grave on the mountain next to the shadow of a flower!

so the people ... when they see it
oh bella ciao bella ciao bella ciao ciao ciao
so the people when they see it they'll shout REVOLUTION!

That's the history ... of a guerrilla fighter
oh bella ciao bella ciao bella ciao ciao ciao
that's the history of a guerrilla fighter who died for liberty

Sohag Chand Badani - Nirmalendu Chowdhury

Lyrics:
Sohag chand bodoni dhoni
Nacho to dekhi
Bala nacho to dekhi
Sohag chand bodoni dhoni

Nachen bhalo sundor, ar
Badhen bhalo chul
Heliya Duliya pore
Nagkeshorer phul,
Bala, nagkeshorer phul

Runur jhunur nupur paye
Thumuk thumuk baje
Noyone noyon miliya gelo
Shoromer rong lage gale

Jemni nachen nagor kanai
Temni nachen rai
Nachiya bhulao to dekhi,
Ekbar nachiya bhulao to dekhi
Nagor Kanai

Sohag chand bodoni dhoni
Nacho to dekhi
Bala nacho to dekhi
Sohag chand bodoni dhoni

Khuda Wahi Hai

Vocalist: Kavita Seth

Hindi Lyrics:

बदल रहा है जो शब् सहर मैं
खुदा वही है खुदा वही है
है जिसका जलवा नज़र नज़र मैं
खुदा वही है खुदा वही है

जो फूल खुशबू गुलाब मैं है
ज़मीन फलक आफताब मैं है
है जिसके रंगत शजर शजर मैं
खुदा वही है खुदा वही है

Urdu Lyrics:

بدل رہا ہے جو شب سہار میں
خدا وہی ہے
ہے جسکا جلوہ نظر نظر میں
خدا وہی ہے

جو پھول خوشبو گلاب میں ہے
زمین فلک آفتاب میں ہے
ہے جسکی رنگت شجر شجر میں
خدا وہی ہے خدا وہی ہے

Transliteration:

badal raha hai jo shab sehar maen
khuda wahi hai khuda wahi hai
hai jiska jalwa nazar nazar maen
khuda wahi hai khuda wahi hai

jo phool khushboo gulab maen hai
zameen falak aaftaab maen hai
hai jiski rangat shajar shajar maen
khuda wahi hai khuda wahi hai

Meaning:

that which is changing from nite to morning
that is God, that is God
whose charisma we see in every sight
that is God, that is God

that which is in a flower, in fragrance, in a rose
that which is in the earth, the sky and the sun
whose colour colours the trees
that is God, that is God!

Kavita Seth (born 1970) is an Indian singer, who is most known as a playback Singer in Hindi cinema, as well as a performer of Ghazals and Sufi music, and has formed her musical group, Karwaan Group, a band of Sufi musicians She won the Filmfare Award for Best Female Playback Singer in 2010 for her classical Sufi rendition "Gunja Sa Koi Iktara" for the film Wake Up Sid (2009)Born in Bareily, Uttar Pradesh where was and brought up and did her schooling as well as her graduation.She first started performing at the Khan-kahe Niyazia Dargah, in Bareilly, which soon lead singing in public shows and musical concerts.

Hori Hor Rahee Hai - Hazrat Zaheen Shah Taji

Vocalist: Abida Parveen



Vocalist: Kavita Seth



Lyrics: Baba Zaheen Shah Taji

Horih hoye rahi hai
Ahmad jiyo ke dwar
Hazrat Ali ka raang bano hai
Hasan Husain khilar
Aiyso hori ke dhum machi hai
chahun or pari hai pukaar
Aiyso anokho chatur khiladi
raang dinyon sansar
Niaz pyara bhar bhar chidke
ek hi raang sahas pichkar
Hazrat Shah Niaz


Ji chahe to sheesha ban ja, ji chahe paimana ban ja
Sheesha paimana kya banna, mai ban ja maikhana ban ja..


Mai bar kar, maikhana ban kar masti ka afsana ban ja
Masti ka afsana bankar hasti se begaana ban ja


Hasti se bagaana hona masti ka afsana banna
Is hone se is banne se achha hai deewana ban ja


Deewana ban jane se deewana hona achha hai
deewana hone se achha khak e dar e janana ban ja


Khak e dar e janana kya hai ahle dil ki annkh ka surma
Shama ke dil ki thandak ban ja noor e dil e parwana ban ja


Seekh Zaheen ke dil se jalna kahe ko har shamma par jalna
Apni aag mein khud jal jaye tu aisa parwana ban ja

Meaning:

Ji chahe to sheesha ban ja, ji chahe paimana ban ja
Sheesha paimana kya banna, mai ban ja maikhana ban ja..
If you wish, become the glass, or the chalice
But why choose, when you can become the wine and the tavern

Mai ban kar, maikhana ban kar masti ka afsana ban ja
Masti ka afsana bankar hasti se begaana ban ja
By becoming the wine and the tavern, become the tale of intoxication
By becoming the tale of intoxication, become a stranger to life
(interpretation: lose yourself in the lust of devotion)

Hasti se bagaana hona, masti ka afsana banna
Is hone se is banne se achha hai, deewana ban ja
Becoming a tale, becoming a stranger to being,
Better than these, however, is to become a madman.

Deewana ban jane se, deewana hona achha hai
deewana hone se achha, khak e dar e jaanana ban ja
Better than becoming a madman is to be a madman
Better than being a madman is to become dust at the door of a beloved

Khak e dar e jaanana kya hai, ahle dil ki annkh ka surma
Shama ke dil ki thandak ban ja, noor e dil e parwana ban ja
What is dust, but kohl in the eyes of the people of the heart
Become the coolness at the heart of a candle, become the moth illuminating the heart

Seekh Zaheen ke dil se jalna, kahe ko har shamma par jalna
Apni aag mein khud jal jaye, tu aisa parwana ban ja
Learn, Zaheen (Intelligent One), to burn from the heart
Why burn for every flame.
Become that moth that burns in its own fire

Abida Parveen (born 1954) (Sindhi: عابده پروين, Urdu: عابده پروین), is a singer of Sindhi descent and one of the foremost exponents of Sufi music (Sufiana kalaam). She sings mainly ghazals, Urdu love songs, and her forte, Kafis, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets. Parveen sings in Urdu, Sindhi, Seraiki, Punjabi and Persian, and together with Nusrat Fateh Ali Khan is considered one of the finest Sufi vocalists of the modern era.A few years ago she has taken a Bay'ah, and formally entered into the tutelage of a spiritual master, Muhammad Najeeb Sultan. She has expressed Muhammad Najeeb Sultan as her spiritual master in many songs. In December 2009 she launched an album in his name.
Abida Parveen, a Sindhi, was born in mohalla Ali Goharabad in Larkana (Sindh province, Pakistan). She received her musical training initially from her father, Ustad Ghulam Haider, and later from Ustad Salamat Ali Khan of the Sham Chorasia gharana.


Taj-ul-Muhibbeen wal Mahboobeen Hazrat Baba Muhammad Tuaseen commonly renowned as Hazrat Zaheen Shah Taji Farooqui (Urdu: ذہین شاہ تاجی) (RA) (b. 1902 Jaipur, British India - d. 23 July 1978 Karachi, Pakistan) was one of the greatest sufi saints of sub-continent as well as an Urdu poet, philosopher and scholar of high repute.With his pen name Zaheen he wrote many Ghazals in Urdu language while he knew Persian, Arabic, English and Hindi languages as well. He was in direct lineage from Syedna Umer Farooq and was adapted in Chishtia order of sufism in which his ancestors earned Faiz from Hazrat Syed Muhammad Moinuddin Chishti Ajmeri (RA). His Murshid was Hazrat Yusuf Shah Taji who was disciple of Hazrat Tajuddin Baba of Nagpur (RA).

Kinu Sang Main Khelu Holi

kinu sang khelun holi
piya taj gayen hai akeli

manik moti sab hum chode
gale main pehli seli
bhojan bhavan bhalo nahi lagai
piya karan bhai re-keli
mujhe doori kyu meeli

piya tyaj gaye hain akeli

ab tum preet avarasu so jodi
humse karee kyun paheli
bahu deen beete ajahu na aayen
lag rahi tala beli
kinu dilama ye heli

piya tyaj gaye hain akeli

syam bina jiyado murjhave
jaise jal bin beli
meera ku prabhu darsan deejo
main tho janam janam ki cheli
daras ke bina khadi duheli


for more Meera bhajans:
http://meerabaihajans.blogspot.com/

Aaj Biraj Main Hori Re

Acharya Mridul Krishan

Lyrics
Aaj Biraj mein holi re rasiya – 4
Holi re rasiya barjori re rasiya – 2
Holi re holi re barjori re rasiya
Aaj Biraj mein holi re rasiya

Ghar ghar se braj banita aayi – 4
Koi shyamal, koi gori re rasiya – 2
Aaj Biraj mein holi re rasiya
Holi re holi re barjori re rasiya
Aaj biraj mein holi re rasiya

Ikte aaye kumar Kanhai Lala – 4
Dekho uthke ayi Radha gori re rasiya – 2
Aaj Biraj mein holi re rasiya
Holi re holi re barjori re rasiya
Aaj Biraj mein holi re rasiya

Koi laave choba, koi laave chandan – 4
Koi malay mukh,rori re rasiya – 2
Aaj Biraj mein holi re rasiya
Holi re holi re barjori re rasiya
Aaj Biraj mein holi re rasiya

Udat gulal, laal bhaye badra – 4
Maarat bhar bhar jori re rasiya – 2
Aaj Biraj mein holi re rasiya
Holi re holi re barjori re rasiya
Aaj biraj mein holi re rasiya

Chandra sakhi, bhajbal Krishana chhabi – 4
Chirjibo yeh hai jodi re rasiya – 2
Aaj Biraj mein holi re rasiya
Holi re holi re barjori re rasiya
Aaj Biraj mein holi re rasiya


आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

घर घर से बिरज बनिता आई
घर घर से बिरज बनिता आई

कोई श्यामल,कोई गोरी रे रसिया
कोई श्यामल,कोई गोरी रे रसिया

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

आये कुमार कन्हाई लाला
आये कुमार कन्हाई लाला

आई राधा गोरी रे रसिया
आज बिरज में होली रे रसिया

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

कोई लाये चोबा,कोई लाये चन्दन
कोई लाये चोबा,कोई लाये चन्दन

कोई मलय मुख,रोरी रे रसिया
कोई मलय मुख,रोरी रे रसिया

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

उरत गुलाल,लाल वाये बादरा
उरत गुलाल,लाल वाये बादरा

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

चन्द्र सखी,भाज्बल कृष्ण छवि
चन्द्र सखी,भाज्बल कृष्ण छवि

चिर्जीबी यह है जोड़ी रे रसिया
चिर्जीबी यह है जोड़ी रे रसिया

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

आज बिरज में होली रे रसिया
आज बिरज में होली रे रसिया

Aaj biraj me Hori re Rasiya, Hori re rasiya barjori re Rasiya
It te aaye Kunwar Kanhaiya, ut te Radha gori re Rasiya

Aaj biraj me Hori re Rasiya, Hori re rasiya barjori re Rasiya
Udat abeer, gulaal, kumkumaa, kesar gaagar dhori re Rasiya

Aaj biraj me Hori re Rasiya, Hori re rasiya barjori re Rasiya
Baajat taal mrudang jhaanjh baansuri, aur nagaaran jori re Rasiya

Aaj biraj me Hori re Rasiya, Hori re rasiya barjori re Rasiya
Krishna-jeevan Lachi Ram ke prabhu so, phaguwa leyo bhar-jhori re Rasiya

Aaj biraj me Hori re Rasiya, Hori re rasiya barjori re Rasiya

Banno Teri Akhiyaan

Film: Dushmani

banno terii ankhiyaan suramedaani
banno teraa mukhadaa laakh kaa re
banno teraa kangan hai hazaari
banno teraa kangan ...

banno terii ankhiyaan suramedaanii
banno teraa jhumkaa laakh kaa re
banno terii jhaanjhar hai hazaarii
banno terii jhaanjhar ...

banno terii ankhiyaan suramedaanii
banno terii mundarii laakh kii re
banno terii nathanii hai hazaarii
banno terii nathanii ...

banno terii ankhiyaan suramedaanii
banno teraa jodaa laakh kaa re
banno teraa tiikaa hai hazaarii
banno terii tiikaa ...

banno terii ankhiyaan suramedaanii
banno teraa bannaa laakh kaa re
banno terii jodii hai hazaarii
banno terii jodii ...

Holiya Main Ude Re Gulaal

Ila Arun

Re holiya re holiya holi hai....
gaon ka sara log lugai laga du prem ka gulal
bhang bhang bhang pilo pacha ke chang (2)

re Holiya main uda re gulal
kaiyo re mangejad se

Holiya main ude re gulal
kaiyo re mangetar se

Mhari ye mangetar chudala wali (2)
ghadiya walo re nawab kaiyo re mangetar se(2)

Holiya main uda re gulal
kaiyo re mangetar se (2)

Mhari ye mangetar nathni wali (2)
re bhucha walo re nawab kaiyo re mangetar se (2)

holiya main ude re gulal
kaiyo re mangetar se

Mhari ye mangetar payal wali (2)
re dhotya walo re nawab kaiyo re mangetar se (2)

Holiya main uda re gulal
kaiyo re mangetar se

Mhari ye mangetar nakra wali (2)
piche bhage nawab kaiyo re mangetar se (2)

Holiya main ude re gulal
kaiyo re mangetar se (8)

Resham Ka Rumal

Title: Resham Ka Rumal (Resham Ka Roomal)
Artist: Ila Arun

Lyrics:
resham ka rumaal gale pe dal ke
tu aa jana dildar mere main
delhi ka surma laga ke are
kab se khadi hoon darwaje pe

re dilbar mere main to thi anjani
mein hoi diwani re teri nazron ki
ho o o resham ka

meri nathni dole dole,mera bichua cham cham bole
re meri lal chunaria,sar se sarakti jaye/dildar mere mein
mein dilli ka surma laga ke,are,kab se khadi hoo darvaje pe,ho ho ho
resham ka ha
re,dilbar mere main to thi anjani
mein hoi diwani re teri nazron ki
ho/malmal ka,malmal ka kurta badan pe daal ke,tu aa jana,dildar mere mein
banaras ka bida chaba ke,are
kab se khadi hoo darvaje pe,ho ..malmal ka

mera jhumka kuch kuch bole
aag lagi hai bharke sholey
meri nagin se yeh lat,jobanwa ko,dhas dhas jaye
dildar mere mein,mein dilli ka surma laga ke are kab se khari hoo darvaje pe
ho..resham ka haa
re dilber mere,mein to thi anjani
mein hoi diwani re teri nazron ki
ho.mogre ka.mogre ka gajra bandh ke tum,aa jana dildar mere mein
chameli ki ek daal banke,jhoom rahi
darvaje pe,ho..resham ka

Chitta Kukkar

From www.shaadisongs.com

Chitta kukar banayray tey (x 2)
Kasni dupattay waliyey munda sadqey tere tey (x2)

Sari khed lakeeran di (x2)
Gaddi aaye station te akh pich gai weeran di

Pipli dian chawan ni (x2)
Aape hatti doli tor ke ma pay karan duawan ni (x2)

Kunda lag gaya thaali nu (x2)
Hattan utte mehndi lag gai ik qismat wal nu (x2)

Heera lakh sawa lakh da hai (x2)
Teen walian dian Rab iztan rak tha hai (x2)

Aasman ich panj tare (x2)
Asan munda o lena jera saerae wich akh mare (x2)

Baghe wich aya karo (x2)
Jado asi so jaeeye tusi makya udaya kari (x2)

Baghe wich aya karo (x2)
Kangi sheesha mae daen diya tusi tind lashkaya karo (x2)

Bicycle chalae janda hai (x2)
Nale naq wagda hai, nale kulfi khai janda hai (x2)

Bicycle chalae janda hai (x2)
Fitte mou shokeeni da piche nanan palai janda hai (x2)

Aalo matar pakaiu hoe ni
Sade nalo button changeh, jere sene nallaye hoe nae (x2)

Sarke utte rori hai (x2)
Nale mera challe lay leya nale ungal marore hai (x2)

Sarke utte rori hai (x2)
Kera mera chala lay leya ungal marore hai

Sarke utte rori hai (x2)
Khaba mera chala laleya, saji ungal marore hai (x2)

Sap char goya soti te (x2)
Khas ke chaper maran teree phooli hoi bothi te (x2)

Thali wich panch nakha (x2)
Maan deya gol gapya, teno logan wich ki aakha (x2)

Bagae wich pital paya (x2)
Mahey sano akh mari, sada hasa nikal giya (x2)

Bagae wich it chamke (x2)
Sas dian phul jareean, Sore di tinf chamke (x2)

Chitta kukar banayray tey (x 2)
Kasni dupattay waliyey munda sadqey tere tey (x2)

Madhanian

Surinder Kaur


Musarat Nazir

Lyrics:
Hai o Mereya Daadeya Rabba
Kinna Jammiyan Kinna Ne Le Jaaniya
Haiyo Mereya Daadeya Rabba
Kinna Jammiyan Kinna Ne Le Jaaniya

Chhole Chhole Chhole - Babul Tere Mehlan Vicho
Satrangiya Kabootar Bole-Hai
Babul Tere Mehlan Vicho
Satrangiya Kabootar Bole-Hai

Talliyaan O Talliyan – Maanvan Dheeyan Milan Lagiyaan
Chare Kandha Ne Chubaare Diyan Haliyaan Hai
Maanvan Dheeyan Milan Lagiyaan
Chare Kandha Ne Chubaare Diyan Haliyaan Hai

Pheeta Pheeta Pheeta Pheeta Pheeta – Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai
Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai
Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai

Mehndi…. Mehndi Mehndi Mehndi – Lagdi Suhagana Nu
Nai Marde Dama Tak Laindi
Lagdi Suhagana Nu
Nai Marde Dama Tak Laindi

Jhumke Jhumke – Amrhi Da Dil Kambeyan
Amrhi Da Dil Kambeyan, Amrhi Da Dil Kambeyan
Aj Mu Lado Da Chum Ke
Amrhi Da Dil Kambeyan
Aj Mu Lado Da Chum Ke

Taare Taare - Jaan Jaaye Mukhde Te
Jaan Jaaye Mukhde Te, Jaan Jaaye Mukhde Te
Tera Tikka Lishkaare Maare
Jaan Jaaye Mukhde Te

Lachchiyaan - Ankhiyan De Hanju Das Ke
Ankhiyan De Hanju Das Ke, Ankhiyan De Hanju Das Ke
Aaj Doli Tenu Pauna Sakhiyaan
Ankhiyan De Hanju Das Ke

Choodiyan Choodiyan Choodiyan Choodiyan Choodiyan – Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi
Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi
Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi

Loyi – Babul Tere Mehlan Vicho
Teri Lado Pardesan Hoi Hai
Babul Tere Mehlan Vicho
Teri Lado Pardesan Hoi Hai

Maape Maape – Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Haan Naazan Nal Palke Dheeyan
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Ho o Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai

Brahma Kadigina Padamu

Pallavi
brahma kaḍigina pādamu |
brahmamu dāne nī pādamu ||


Charanam
celagi vasudha golicina nī pādamu |
balitala mōpina pādamu |
talakaka gaganamu tannina pādamu |
balaripu gācina pādamu ||
kāmini pāpamu kaḍigina pādamu |
pāmutala niḍina pādamu |
prēmapu śrīsati pisikeḍi pādamu |
pāmiḍi turagapu pādamu ||
parama yōgulaku pari pari vidhamula |
vara mosageḍi nī pādamu |
tiru vēṅkaṭagiri tiramani cūpina |
parama padamu nī pādamu ||

rahma kaDigina pAdamu
pa : బ్రహ్మ కడిగిన పాదము|

బ్రహ్మము తానెని పాదము||


ca : చెలగి వసుధ కొలిచిన నీ పాదము|

బలి తల మోపిన పాదము|

తలకగ గగనము తన్నిన పాదము|

బలరిపు గాచిన పాదము||



ca : కామిని పాపము కడిగిన పాదము |

పాము తలనిడిన పాదము|

ప్రేమతొ శ్రీ సతి పిసికెడి పాదము |

పామిడి తురగపు పాదము||


ca : పరమ యోగులకు పరి పరి విధముల|

పరమొసగెడి నీ పాదము|

తిరువేంకటగిరి తిరమని చూపిన|

పరమ పదము నీ పాదము||

In English:

pa : Brahma Kadigina Paadamu |
Brahmamu Taanenee Paadamu ||


ca : Chelagi Vasuda Golicina Nee Paadamu |
Bali Tala Mopina Paadamu |
Talagaka Gaganamu Tannina Paadamu |
Balaripu Gaacina Paadamu ||


ca : Kaamini Paapamu Gadigina Paadamu |
Paamu Talanidina Paadamu |
Premapu Shreesati Pisikedi Paadamu |
Paamidi Turagapu Paadamu ||


ca : Parama Yogulaku Pari Pari Vidhamula |
Varamosagedi Nee Paadamu |
Tiru Venkatagiri Tiramani Coopina |
Parama Padamu Nee Paadamu ||

Background of this song:

Here annamayya is explaining the Greatness of the lotus feet of Lord VEnkaTEswara, an incarnation of the supreme lord NARAYANA. He glorifies the lotus feet of VEnkaTEswara remembering the leelas(divine actions) of HIS incarnations.


Meaning:

pa :

This lotus feet of NARAYANA was cleansed by the Brahma(In vAmana avatAram of lord NARAYANA, while measuring the whole universe the third step of lord went to sathya lOka( residence of Brahma, the four headed god). With this unexpected Guest of lord's feet , Brahma astonished and immediately started cleansing lord's feet by taking the vedAs as water in to his kamanDalam.That water only now called as Ganga). This holy feet itself is "Brahmam"(Note here, it is not brahma(the four faced god, but it is Brahmam, the supreme Lord).

ca 1 :

This holy feet measured the whole world in HIS first step(as i stated above in vAmana avatAram). This holy feet was put on Bali head( a asura king, grand son of a great devotee PrahlAda) during vAmana avatAra, in HIS third step. This holy feet only kicked (measured)the sky in HIS second step. This holy feet only then protected the Bali by sending him in to pAtALa loka (the bottom most loka of the 14 lokas, where lord NARAYANA will be the Guardian for this lOkam, according to a boon given to PrahlAda by lord itself).

ca 2 :

This Holy feet of Lord NARAYANA cleansed all the sins of the passionate lady(In RAMA avataram of lord , Ahalya after touching this holy feet, got released by the curse of her husband Gautama sage). This holy feet was put on the poisonous snake KAlindi(In krishna avataram of lord, HE put his holy foot prints on the head of this snake and ordered it to vacate the pond for the benefit of the GOkulam). This holy feet is smoothly pressed by HIS consort Sri Maha Lakshmi on milky ocean. This is the holy feet which will be riding on the horse in Kalki avataram.

ca 3 :

This is the holy feet which will grant the salvation in different ways for the great sages. This is the holy feet which showed that this Tirumala (Tiru vEnkaTa giri) hill itself is noting but VAIKUNTAM (paramapadam).

Rajeeva Netraya

ప|| రాజీవ నేత్రాయ రాఘవాయ నమో | సౌజన్య నిలయాయ జానకీశాయ ||
చ|| దశరథ తనూజాయ తాటక దమనాయ | కుశిక సంభవ యజ़్జ గోపనాయ |
పశుపతి మహా ధనుర్భంజనాయ నమో | విశద భార్గవరామ విజయ కరుణాయ ||
చ|| భరిత ధర్మాయ శుర్పణఖాంగ హరణాయ | ఖరదూషణాయ రిపు ఖండనాయ |
తరణి సంభవ సైన్య రక్షకాయనమో | నిరుపమ మహా వారినిధి బంధనాయ ||
చ|| హత రావణాయ సంయమి నాథ వరదాయ | అతులిత అయోధ్యా పురాధిపాయ |
హితకర శ్రీ వేంకటేశ్వరాయ నమో | వితత వావిలిపాటి వీర రామాయ ||

pa|| rAjIva nEtrAya rAGavAya namO | saujanya nilayAya jAnakISAya ||
ca|| daSaratha tanUjAya tATaka damanAya | kuSika saMBava yaj~ja gOpanAya |
paSupati mahA dhanurBaMjanAya namO | viSada BArgavarAma vijaya karuNAya ||
ca|| Barita dharmAya SurpaNaKAMga haraNAya | KaradUShaNAya ripu KaMDanAya |
taraNi saMBava sainya rakShakAyanamO | nirupama mahA vArinidhi baMdhanAya ||
ca|| hata rAvaNAya saMyami nAtha varadAya | atulita ayOdhyA purAdhipAya |
hitakara SrI vEMkaTESvarAya namO | vitata vAvilipATi vIra rAmAya ||

Sriman Narayana

English Transliteration of Lyrics here follows..
rAgam: bauLi tALam: Adi

shrI annamAcArya viracita

pallavi

shrIman nArAyaNa shrIman nArAyaNa
shrIman nArAyaNa nI shrIpAdame sharaNu

caraNam

kamalAsati mukhakamala kamalahita
kamalapriya kamalekShaNA
kamalAsanahita garu.dagamana shrI
kamalanAbha nI padakamalame sharaNu || 1 ||

parama yogijana bhAgadheya shrI
paramapuruShA parAtparA
paramAtmA paramANurUpa shrI
tiruveN^kaTagiridevA sharaNu || 2 ||

Oh, Auspicious Narayana, I seek the shelter of your auspicious feet. Oh, one whose wife is KamalA, having the face of a lotus, one who tends lotus, one who likes lotus, one with eyes like lotus, Oh, one in lotus posture, one who rides the eagle Garuda, Oh, one with a lotus on his navel, I seek your lotus feet. One who brings good fortune to great yogis One the supreme soul beyond, Oh one who gives substance to an atom Oh, God of Thiruvenkata mountains, I seek your feet.

shrIman nArAyaNa shrIman nArAyaNa shrIman nArAyaNa nI shrIpAdame sharaNu kamalAsati mukhakamala kamalahita kamalapriya kamalekShaNA kamalAsanahita garu.dagamana shrI kamalanAbha nI padakamalame sharaNu parama yogijana bhAgadheya shrI paramapuruShA parAtparA paramAtmA paramANurUpa shrI tiruveN^kaTagiridevA sharaNu


Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.

Muddugare Yashoda

In this lovely song, Annamacharya describes the beauty of little Krishna, comparing him with the various precious stones like diamond, ruby, sapphire, etc.

He is the lovely toddler (pearl) of Yashoda, playing in her front yard. He is the all powerful; son of Devaki.||

He is the manikyam (ruby) of all gopikas. He is the vajrayudham (all-powerful diamond like weapon) to the evil Kamsa. He is the emerald (paccha) of the three worlds (lokas), radiating light. Dwelling in everyone, He is our little Krishna.||

He is the coral (pagadamu) of beautiful Rukmini. He is the agate (gomedhikamu) that lifted Govardhana mountain. He is the cat's eye (vydooryam) in between conch (Sankham) and discus (Chakram). He is lotus-eyed (Kamalaksha), our saviour. ||

He is like the topaz (pushyaragam) on the heads of Kaliya (serpent). He is the sapphire (Indraneelam), our protector, dwelling in Sri Venkatadri (Seshachalam). He is the divine gem in the ocean of milk. He is Padmanabha (one with lotus at navel), moving like a boy amongst us. || - Annamayya (15 Century)


"In India the mother is the center of the family and our highest ideal. She is to us the representative of God, as God is the mother of the universe.- Swami Vivekananda

P.S: "TELUGU - Italian of the East" - Niccolo Da Conti, 15th Century Italian explorer
(As all the native words in Telugu end with a vowel sound)


muddugarE yasOda
raagam: kurinji
29 shankaraabharaNam janya
Aa: S N3 S R2 G3 M1 P D2
Av: D2 P M1 G3 R2 S N3 S

taaLam:
Composer: Annamaacaarya
Language:

pallavi

MuddugAre YasodA mungiti muthyamuvidu
DidderAni mahimala Devaki suthudu

caraNam 1

Anthanintha gollethala arachethi mAnikyamu
PanthamAdey Kamsuni pAli vajramu
KAnthula moodu lokAla Garudapachapoosa
Chenthala mAlonunna Chinni Krishnudu
caraNam 2

ratikeli rukminiki rangumovi pagadamu
mithi gOvardhanapu Gomedikamu
sathamye SankhachakrAla sandula vaidooryamu
gathiyai mammu gAche KamalAkshudu
caraNam 3

kAlinguni talapye gappina pushyarAgamu
yelleti Sri VenkatAdri Indraneelamu
pAlajalanidhilona bAyani Divya ratnamu
bAluneevale dhrigi PadmanAbhudu


Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.

Brahmamokate Parabrahmamokate

from http://www.karnatik.com/c1107.shtml

thandanana abi (brahma okaTE)
raagam: bowLi
15 maayamaaLava gowLa janya
Aa: S R1 G3 P D1 S
Av: S N3 D1 P G3 R1 S

OR

naadanaamakriyaa
15 maayamaaLava gowLa janya
Aa: S R1 G3 M1 P D1 N3
Av: N3 D1 P M1 G3 R1 S N3

taaLam: aadi
Composer: Annamaacaarya
Language: Telugu

pallavi

tandanAnA Ahi tandanAnA purE tandanAna bhALa tandanAnA bhaLA
brahmamokaTE para brahmamokaTE brahmamokaTE para brahmamokaTE

caraNam 1

kanduvagu hInAdhikamu lindulEvu andariki shrI harE antarAtmA
indulO jantukulamu intA okaTE andariki shrI harE antarAtmA

caraNam 2

ninDAra rAjU nidrincu nidrayu okaTE anDanE baNTu nidra adiyu okaTE
meNDaina brahmANuDu meTTu bhUmi okaTE caNDAlundEti sari bhUmi okaTE

caraNam 3

anugu dEvatalakunu ala kAma sukhamokaTE ghanakITa pashuvulaku kAma sukham okaTE
dIna mahOrAtramulu tegi dhanAdyuna-kokaTE vonara nirupEdakunu okaTE aviyu

caraNam 4

koralu SiSTnnamulu gonu nAkkalokaTE tirugu duSTAnnamulu dinu nAkkalokaTE
paragu durgandhamulapai vAyuvokaTE varusha parimaLamupai vAyuvokaTE

caraNam 5

kaDagi Enugu mIda kAyu eNda okaTE pudami suanakamu mIda bolayu-nendokaTE
kaDu puNyalanu pApa karmulanu sarigAva jaDiyu shrI venkaTEShvaru nAma-mokaTE

Meaning:
pallavi: "Tandanana" is a word giving the punch of rhythm in the song. Ahi, Pure, Bhala are the words expressing the excitement or ecstasy or appreciation. The absolute spirit is one & only one.

caraNam 1: There are no differences of low & high. "Srihari" (A name of Vishnu. Vishnu is the form of God who is in charge of maintenance, protection of the good & destruction of the bad. In this context, Srihari is the Supreme Spirit) is the indwelling Spirit to one and all. All the beings in creation are one because the indwelling spirit in every creature is one and the same.

caraNam 2: Sleep is same to all, be it a king or a servant. Be it a "Brahmin" (man of the highest caste) or "Chandala" (man of the lowest caste), the earth they live on is the one and the same.

caraNam 3: The sensual pleasure is one and the same either for angels or for the insects and animals. The day and night are equal to the rich as well as to the poor.

caraNam 4: One could afford to eat tasty food and the other the condemned food. But the tongues that taste the food are alike. An object of fragrance or an object of foul smell, the air that carries the smell is one and the same.

caraNam 5: Be it an elephant or a dog, the sun shines alike on both of them. For the good and the bad, Lord Venkateshwara alone is "The Savior".

Other information:
Lyrics contributed by Lakshman Ragde.

It is said that this song was a folk song sung called "tandana padam" sung with a folk instrument called "dappu."

Sri Tallapaka Annamacharya (Telugu: శ్రీ తాళ్ళపాక అన్నమాచార్య) (or Annamayya) (May 9, 1408 – February 23, 1503) was the official songmaster of the Tirumala Venkateswara Temple,[1] and a Telugu composer who composed thousands of keertana songs,[2] many of which were in praise of Lord Sri Venkateswara Swami. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions,[3] which are still popular among Carnatic music concert artists.[4] Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers.[5]

He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language.[6]
Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari (May 9, 1408) in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India.[7] His wife, Thimmakka,[8] had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions.[9] Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi (February 23, 1503).

Annamacharya is said to have composed as many as 32,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara,[10] of which only about 12,000 are available today.
Annamacharya considered his compositions as floral offerings to Bhagwaan Govinda. In the poems, he praises Venkateswara, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Bhagwaan Venkateswara by describing his amorous and romantic adventures of Venkateswara and Alamel Manga, while others describe the Bhakti of his devotees.
In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in his era,[11] with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latters' color, caste and financial status, in beautiful yet powerful usage of words in his song "Brahmam Okkate Parabrahmam Okkate..."

His choice of words gives a mellifluous tone to his songs, charming the listener. His prodigious literary career earned him a place among the all-time greats of Telugu literature.[12]

According to legend, Annamacharya met up with Purandara Dasa and both of them composed music and lyrics.[13] They met when Annamacharya had invited Purandara Dasa to join him in singing praise.[14]

While enjoying popularity in his own days, his compositions were forgotten for over three centuries for some inexplicable reason. They were later found engraved on copper plates, hidden for centuries inside the Sri Venkateswara temple at Tirumala, just opposite the Hundi, concealed in a very small room.

Tirumala Tirupati Devasthanams, also known as TTD, has been endeavouring to preserve the rich heritage of his compositions. Garimella Balakrishna Prasad (born 9 November 1948) set the musical tune for more than 600 Annamacharya songs. He has been the Asthana Gayaka of the Tirumala temple at Tirupati since 1983. He is regarded as a pioneer in rendering devotional music in classical style, especially the Annamacharya sankirtanas. He composed tunes for famous keerthanas such as Vinaro Bhagyamu Vishnukatha, Bramha Kadigina Padamu, Jagadapu Chanuvula and Pidikedu Thalambralu... which became popular among the devotees. All these devotional songs are predominantly in Sanskrit and Telugu.

Yorokobi Yorokobi....From Jenny Padma

Let the happiness/joy widen
We as small children want our heart to become as serene as the blue sky..
Yorokobi Yorokobi
Hirogeyou Hirogeyou
Chiisana Chiisana Bokutachi dakedo
Ano Aoi Sora no You ni Sumiki tta kokoroni naruyou ni

Let the loneliness be forgotten
We as small children want our heart to become as serene as the blue sky..
Samishisa Samishisa
Wasuremai Wasuremai
Chiisana Chiisana Bokutachi dakedo
Ano Aoi Sora no You ni Sumiki tta kokoroni naruyou ni

Let there be brightness forever
We as small children want our heart to become as serene as the blue sky..
Akarusa Akarusa
Itsumademo Itsumademo
Chiisana Chiisana Bokutachi dakedo
Ano Aoi Sora no You ni Sumiki tta kokoroni naruyou ni

Let us overcome the pain
We as small children want our heart to become as serene as the blue sky..
Kurushisa Kurushisa
Norikoeo Norikoeo
Chiisana Chiisana Bokutachi dakedo
Ano Aoi Sora no You ni Sumiki tta kokoroni naruyou ni

Let the anger be burnt
We as small children want our heart to become as serene as the blue sky..
Ikario Ikario
Moyasou Moyasou
Chiisana Chiisana Bokutachi dakedo
Ano Aoi Sora no You ni Sumiki tta kokoroni naruyou ni

Ud Jayega Hans Akela - Sant Kabir - Kumar Gandharva - From Kamayani B Mahabal

Song : ud jayega hans akela jag darshan ka mela..
Lyrics with english translation
Singer And Composer : Pandit Kumar Gandharva (1924- 1992) Dewas (M.P) India
LYRICS :-
Ud Jayega Huns Akela,
Jug Darshan Ka Mela
Jaise Paat Gire Taruvar Se,
Milna Bahut Duhela
Naa Jane Kidhar Girega,
Lageya Pawan Ka Rela
Jub Howe Umur Puri,
Jab Chute Ga Hukum Huzuri
Jum Ke Doot Bade Mazboot,
Jum Se Pada Jhamela
Das Kabir Har Ke Gun Gawe,
Wah Har Ko Paran Pawe
Guru Ki Karni Guru Jayega,
Chele Ki Karni Chela
Ud jayega hans akela
Jag darshan ka mela...

Translation
The Swan Will Fly Away All Alone,
Spectacle of the World Will Be a Mere Fair
As the Leaf Falls from the Tree
Is Difficult to Find
Who Knows Where it Will Fall
Once it is Struck with a Gust Of Wind
When Life Span is Complete
Then Listening to Orders, Following Others, Will Be Over
The Messengers of Yama are Very Strong
It's an Entanglement with the Yama
Servant Kabir Praises the Attributes of the Lord
He Finds the Lord Soon
Guru Will Go According to His Doings
The Disciple According to His

ABOUT KABIR DAS JI :-
Kabir is a very important figure in Indian history. He is unusual in that he is spiritually significant to Hindus, Sikhs, and Muslims alike.

We do not know much about the birth of Kabir. The most reasonable guess places his birth around 1440. According to one legend he was of a virgin birth. It is said that his mother becomes pregnant after visiting a Hindu shrine. Upon delivery the child is given up for adoption.

His early upbringing is much clearer. Kabir was raised among a Muslim community of weavers. He was never formally educated and was almost completely illiterate. I emphasis the word "almost" because, according to legend, the only word that he ever learned how to write was "Rama".

The basic religious principles he espouses are simple. According to Kabir, all life is an interplay of two spiritual principles. One is the personal soul (Jivatma) and the other is God (Paramatma). It is Kabir's view that salvation is the process of bringing into union these two divine principles.

The social and practical manifestation of Kabir's philosophy has rung through the ages. It represented a synthesis of Hindu, and Muslim concepts. From Hinduism he accepts the concept of reincarnation and the law of Karma. From Islam he takes the affirmation of the single god and the rejection of caste system and idolatry. Not only has Kabir influenced Muslims and Hindus but he is one of the major inspirations behind Sikhism as well.

Kabir has written much poetry and song. His lyrics are characterised by a free use of the vernacular, and is unfettered by the grammatical bonds of his day. It is this quality which has made his philosophy accessible to generations of Indians.

ABOUT KUMAR GANDHARVA :-
Kumar Gandharva (Kannada: ಕುಮಾರ ಗಂಧರ್ವ) or Shivaputra Siddramayya Komkalimath (Kannada: ಶಿವಪುತ್ರ ಸಿದ್ಧರಾಮಯ್ಯ ಕೊಮಕಲಿ ) was a Hindustani classical singer, famous for his unique vocal style, refusal to be bound by the tradition of any gharana, and his innovative genius. The name Kumar Gandharva is a title given to him when he was a child prodigy; a Gandharva is a musical spirit in Hindu mythology.
He married Bhanumati Kans in April 1947 and moved to Dewas, Madhya Pradesh. Soon after moving there, he was stricken with lung cancer which was wrongly diagnosed as tuberculosis. He was forced into having a surgery to remove the cancerous lung or face eventual death by the disease. Kumar opted for the surgery after much persuasion by his family and despite warnings that he might not be able to sing anymore. Recovering from the trauma of a surgery in Khanapur near Belgaum in Karnataka, Kumar Gandharva was visited by a fan who was also a physician. The doctor noted his surgical wounds had healed and asked Kumar Gandharva to attempt singing once again. Gradually, helped by this doctor, medicines of those yesteryears and care from Bhanumati Kans, Kumar Gandharva recovered and began singing again. However, his wonderful voice and singing style would always bear the scars of his surgery, which are evident to any person who listens to his songs such as 'Runanubandhachya" from the drama "Dev Dina Ghari Dhavla".
Kumar Gandharva's first son, Mukul Shivaputra Komkalimath, was born around 1955. After Bhanumati's death in 1961 during childbirth, Kumar married Vasundhara Shrikhande, another of his fellow-students at Deodhar School. Vasundhara Komkalimath formed a memorable duo with him in bhajan singing. She also provided vocal support to his classical renditions quite often. Their daughter Kalapini Komkalimath would later accompany both her parents on tanpura.
Kumar Gandharva was awarded the Padma Vibhushan award in 1990.

Matthey Te Chamakan Waal

Mathe te chamkan vaal,
Mere banaRe de.

Lao ji lao enno shagna di mehendi
Mehendi kare hath laal, mere banre de

Pao ni pao enno shagna da gaana
Gaane de rang ne kamaal, mere banre de

Aiyaan ni aiyaan behna mehendi leke
Behne nu kinne ne khayaal, mere banre de

Mathe te chamkan waal......

Aye Malik Tere Bande Hum - Do Ankhen Baarah Haath

Aye Maalik Tere Bande Hum Ayese Ho Humaare Karam
nekee Par Chale, Aaur Badee Se Tale, Taankee Hasate Huye Nikale Dam

Ye Andheraa Ghanaa Chhaa Rahaa, Teraa Insaan Ghabaraa Rahaa
Ho Rahaa Bekhabar, Kuchh Naa Aataa Nazar, Sukh Kaa Sooraj Chhoopaa Jaa Rahaa
Hai Teree Roshanee Mein Jo Dam To Amaawas Ko Kar De Poonam

Badaa Kamazor Hain Aadamee, Abhee Laakhon Hain Is Mein Kamee
Par Too Jo Khadaa, Hain Dayaaloo Badaa, Teree Kirapaa Se Dharatee Thamee
Diyaa Toone Humei Jab Janam Too Hee Jhelegaa Hum Sab Ke Gam

Jab Zulmon Kaa Ho Saamanaa, Tab Too Hee Humei Thaamanaa
Wo Buraee Kare, Hum Bhalaaee Bhare, Naheen Badale Kee Ho Kaamanaa
Badh Uthhe Pyaar Kaa Har Kadam Aaur Mite Bair Kaa Ye Bharam

Aye Maalik Tere Bande Hum Ayese Ho Humaare Karam
nekee Par Chale, Aaur Badee Se Tale, Taankee Hasate Huye Nikale Dam

O Master, We are your followers/servants, Such should be our deeds and actions so that they are noble/good, free from evil intent, so that when we are smiling/happy when we die.

ye andheraa ghanaa chhaa rahaa, teraa insaan ghabaraa rahaa
ho rahaa bekhabar, kuchh naa aataa nazar, sukh kaa sooraj chhoopaa jaa rahaa
hai teree roshanee mein jo dam to amaawas ko kar de poonam

Whenever there is darkness/ignorance enveloping, your child is scared. When sun also seems invisible, and nothing is visible, then its your light which has the power which even enlightens Newmoon/Amavasya.

badaa kamazor hain aadamee, abhee laakhon hain is mein kamee
par too jo khadaa, hain dayaaloo badaa, teree kirapaa se dharatee thamee
diyaa toone humei jab janam too hee jhelegaa hum sab ke gam

Man is very weak, he has so many faults but you are there, ever merciful, because of your everlasting grace on all. You have given us this life and it is you who will sustain it.

jab zulmon kaa ho saamanaa, tab too hee humei thaamanaa
wo buraee kare, hum bhalaaee bhare, naheen badale kee ho kaamanaa
badh uthhe pyaar kaa har kadam aaur mite bair kaa ye bharam

When we deal with injustice, then support us so that we may respond always with goodness- even to the bad inflicted on us, with no retaliation in mind. Our efforts should be towards love for all and not in disillusion or of venegeance for anyone

Hum Ko Mann Ki Shakti - Vani Jairam

Lyrics:
hum ko man kee shakti denaa, man vijay kare
dusaron kee jay se pahale, khud ko jay kare

bhed bhaav apane dil se saaf kar sakein
doston se bhool ho to maaf kar sakein
jhoot se bache rahein, sach kaa dam bharein
dusaron kee jay se pahale, khud ko jay karein

mushkile pade to hum pe itanaa karam kar
saath de to dharam kaa, chale to dharam kar
khud pe hausalaa rahe, badee se naa dare
dusaron kee jay se pahale, khud ko jay kare

Give strength to our minds, Give victory to our minds
Before we desire victory over others, make our minds victorious.

Let our hearts be free from any kind of discrimination.
Let our hearts and mind be always be ready for forgiveness.
Let us be saved from the lies and untruth and let the truth prevail

If we find ourselves in difficulties, please do this much,
That we don't forget the right path and we stay on the right course,
Let us be confident and let us not fear evil.

(Grant us this Dear God!)

हम को मन की शक्ति देना, मन विजय करे
दूसरों की जे से पहले, खुद को जे करे

भेदभाव अपने दिल से साफ़ कर सके
दोस्तों से भूल हो तो माफ़ कर सके
जूठ से बचे रहे, सच कदम भरे
दूसरों की जे से पहले, खुद को जे करे

मुश्किलें पड़े तो हम पे इतना करम कर
साथ दे तो धर्म का, चले तो धर्म कर
खुद पे हौसला रहे, बड़ी से ना डरे
दूसरों की जे से पहले, खुद को जे करे

Right to Information Song

mere sapnon ko janne ka huk re My dreams have a right to know
kyun sadiyon se toot rahe hai why they have been shattering for years
inko sajne ka naam nahin like they do not want to get fulfilled
mere haathon ko janne ka huk re My hands have the right to know
kyun barson se khali pade re why they have been empty for years
inhein aaj bhi kaam nahi hai they till today do not have a job

mere pairon ko yeh janne ka huk re My legs have the right to know
kyon gaon gaon chalna pade re why they walk from village to village
kyon bus ka nishan nahi why there is no trace of a bus

meri bhUkh ko yeh janne ka huk re My hunger has the right to know
kyon godamon mein sadte hain daane why are foodgrains rotting in the godowns
mujhe mutthi bhar dhan nahi (paddy) I dont even have a handful of grain.

meri budhi maa ko janne ka huk re My old mother has the right to know
kyon goli nahi sui davakhane why are there no medicines
patti tanke ka saman nahi why there are no bandages or stiching

mere kheton ko yeh janne ka huk re my fields have the right to know
kyon bandh bane re bade bade why are there big dams being built for bhi faslon mein jaan nahi and still there is no life in my crops.

mere jungalon ko yeh janne ka huk re My woods have a right to know
kahan daliyan woh patte tane mitti where are the branches, leaves and earth
kyon jharno ka nam nahi why there is no trace of springs.

meri nadiyon ko janne ka huk re My rivers have the right to know
kyon zeher milaye karkhane why are the factories poisoning rivers
jaise nadiyoon mein jaan nahi as though the rivers dont have life.

mere gaon ko jaan ne ka huk re My villages have the right to know
kyon bijli na sadke na pani why there is no electricity,road, h2o khuli ration ki dukan nahi Nor ration shop is open

mere voton ko ye jann ne ka huk re My vote has the right to know
kyon ek din bade bade vaade Why one day we hear big promises
fir panch saal kam nahi And for five years, no work

mere raam ko janne ka huk re My god has the right to know
rehman ko ye jannne ka huk re why there is bloodshed on the streets
kyon khoon bahe re sadkon pe as though we are not human beings.
kya sab insaan nahi

meri zindagi ko janne ka hak re My life has a right to know
ab hak ke bina bhi kya jeena if my life is worthy without rights
yeh jeene ke samaan nahin is it even equivalent to living.

Kanada wo Vitthalu - Sant Gnyaneshwar

Dnyāneshwar or Jñāneshwar (1275–1296) (Marathi: ज्ञानेश्वर), also known as Jñanadeva (Marathi: ज्ञानदेव),He was born into a Deshastha Brahmin Kulkarni family and was a 13th century Maharashtran saint (Sant - a title by which he is often referred), poet, philosopher and yogi of the Nath tradition whose works Bhavartha deepika teeka (a commentary on Bhagavad Gita, popularly known as "Dnyaneshwari"), and Amrutanubhav are considered to be milestones in Marathi literature.The Varkaris soon considered him their teacher and spiritual leader, who initiated his contemporaries associated with the Dvaita (dualism) school of the bhakti movement into Advaita (non-dualism)

Varkari (Marathi: वारकरी - meaning "a pilgrim") is a Vaishnava religious movement (sampraday) within the bhakti spiritual tradition of Hinduism, geographically associated with the Indian states of Maharashtra and northern Karnataka.The Varkari tradition affected the life of the common people of Maharashtra for six hundred years (from 13th century to 18th century). Varkaris looked upon God as the Ultimate Truth and ascertained grades of values in social life but accepted ultimate equality among men. Varkaris prostrated in front of each other because "everybody is Brahma" and stressed individual sacrifice, forgiveness, simplicity, overcoming passions, peaceful co-existence, compassion, non-violence, love and humility in social life.
Notable VarkarisL:
Dnyaneshwar
Muktabai
Namdev
Sena Nhavi
Chokhamela
Tukaram
Eknath
Narahari Sonar
Sawata Mali
Kanhopatra

Bolava Vitthal Pahava Vitthal - Sant Tukaram

Ranjani Gayathri


Pandit Jitendra Abhisheki


Pandit Jitendra Abhisheki (Devanagari: पंडित जितेंद्र अभिषेकी; 21 September 1929 – 7 November 1998) was an Indian vocalist, composer and scholar of classical, semi-classical, and devotional music. While he distinguished himself in Hindustani music, he was singlehandedly responsible for the revival of the Marathi musical theatre in the 1960s with his beautiful compositions.His family was traditionally attached to the Mangeshi Shrine of Lord Shiva in Goa. His father, Balawantrao aka Bikambhat, was a nephew and a disciple of Master Deenanath Mangeshkar, and the temple priest and a Kirtankar. Balawantrao taught Jitendra the basic principles of Hindustani classical music.Abhisheki then went to Mumbai and sought advanced training in vocal music from Pandit Jagannathbua Purohit and Ustad Azmat Hussain Khan of Agra Gharana, and Gulubhai Jasdanwala of Jaipur Gharana.


Tukaram was born in 1608, in the small village of Dehu in the West Indian state of Maharashtra to Bolhoba and Kanakai. Tukaram's problems mounted with the death of his family members and economic hardship seemed to plague him.Tukaram was married twice, his first wife Rakhumabai died due to starvation during a famine, his second wife Jijabai or Avali as she was called, was much younger than his first and had little patience with his devotion and for God and she nagged him continuously.Tukaram continuously sang the praises of the Lord, he sang it in the form of abhangs which he wrote. These were in his mother tongue Marathi. The abhangs express his feelings and philosophical outlook. During his 41 years, Tukaram composed over 5000 abhangs.

Majhe Maher Pandhari - Pandit Bhimsen Joshi

Eknath (1533-1599) was a prominent Marathi religious poet in the Hindu tradition in India. He was born and lived most of his life in Paithan in Maharashtra, India. Eknath's family name is almost unknown. In accord with a tradition in India of assigning the epithet "sant" (संत) to persons regarded as thoroughly saintly, Eknath is commonly known in Maharashtra as Sant Eknath (संत एकनाथ)At age 25, he married Girijabai, and the couple had three children.Eknath was well-versed in Sanskrit, Arabic, Persian, Urdu and Hindi languages besides Marathi.Eknath initiated in Maharashtra a movement called Wasudewa Sanstha. It involves house-to-house visitations by individuals known as Wasudewa, who, standing in front of people's houses, spread religious messages through bhajan chants (भजने).

Pandit Bhimsen Gururaj Joshi (Kannada: ಪಂಡಿತ ಭೀಮಸೇನ ಗುರುರಾಜ ಜೋಷಿ, born February 4, 1922) is an Indian vocalist in the Hindustani classical tradition. A member of the Kirana Gharana (school), he is renowned for the khayal form of singing, as well as for his popular renditions of devotional music (bhajans and abhangs). He is the most recent recipient of the Bharat Ratna, India's highest civilian honour, awarded in 2008.Until the first half of the 20th century, Khyal was principally taught in the Guru Shishya (master-disciple) tradition. Bhimsen's guru Sawai Gandharva was the chief disciple of Abdul Karim Khan, who along with his cousin Abdul Waheed Khan was the founder of the Kirana Gharana school of Hindustani music.Another renowned vocalist from the Kirana Gharana, Gangubai Hangal, was a co-student of Bhimsen during this time. Joshi continued his training with Sawai Gandharva till 1940

Jani Jay Paniyasi - Kishori Amonkar

Jana or Jani as she called herself, Janabai as she is known more formally,
was a 13th century Marathi Bhakti (devotional) poet. An orphan of the lowest caste, she went into domestic service with a family of tailors, while still very young. But this was no ordinary family, their son whom Jana helped raise, grew up to be the extraordinarily gifted poet-saint Namdev (1270?-1350?). Jana accepted him as her spiritual mentor and later became a bhakti poet herself, even though like many of her fellow bhakti poets, she never learnt to read or write. Namdev spent much of his life wandering the country as a mendicant-minstrel, but the spiritual bond between the two remained strong. According to legend, Janabai and Namdev died at exactly the same instant, so determined was she to not survive him by even a split second.

Kishori AmonkarN -(Marathi: किशोरी अमोणकर) (born 1932) is an Indian singer who performs in the classical genre Khayal and the light classical genres Thumri and Bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar of the Jaipur gharana (musical tradition of Jaipur), but experimented with a variety of vocal styles in her career. She is considered one of the preeminent representatives of Hindustani classical music.

Bhooth Mothe- Ranjani Gayathri

Ranjani Gayathri

"Pandhariche Bhoot Mothe" The spirit(Vithoba) that lives in Pandhari is immense.
"AalyaGelya jhadapi Vaate" It posseses whosoever goes there
"Bahu khechrich Raana Bagh hey Veday hoy Mana||" It is dangerous forest and you will loose your mind.
"Thithe Jaavu nakaa konnee Gailay Nahi aalay Parathoni"||
Don't go there, because those who went there did not come back.
"Tuka Pandharisi gelaa Punha Janma Nahi Aalaa" Tuka(Tukaram)went to Pandhari and was releaed from birth and death cycle

Bulleh Kee Jaana Main Kaun - Baba Bulleh Shah

Rabbi Shergil


Javed Bashir


Iqbal Bahoo



with Lyrics


Bulla Ki Jaana - Rabbi Shergill (Lyrics)
Na maen momin vich maseet aan
Na maen vich kufar diyan reet aan
Na maen paakaan vich paleet aan
Na maen moosa na pharaun.

Bulleh! ki jaana maen kaun

Na maen andar ved kitaab aan,
Na vich bhangaan na sharaab aan
Na vich rindaan masat kharaab aan
Na vich jaagan na vich saun.

Bulleh! ki jaana maen kaun.

Na vich shaadi na ghamnaaki
Na maen vich paleeti paaki
Na maen aabi na maen khaki
Na maen aatish na maen paun

Bulleh!, ki jaana maen kaun

Na maen arabi na lahori
Na maen hindi shehar nagauri
Na hindu na turak peshawri
Na maen rehnda vich nadaun

Bulla, ki jaana maen kaun

Na maen bheth mazhab da paaya
Ne maen aadam havva jaaya
Na maen apna naam dharaaya
Na vich baitthan na vich bhaun

Bulleh , ki jaana maen kaun

Avval aakhir aap nu jaana
Na koi dooja hor pehchaana
Maethon hor na koi siyaana
Bulla! ooh khadda hai kaun

Meaning:
Bulla, ki jaana maen kaun
Not a believer inside the mosque, am I
Nor a pagan disciple of false rites
Not the pure amongst the impure
Neither Moses, nor the Pharoh

Bulleh! to me, I am not known

Not in the holy Vedas, am I
Nor in opium, neither in wine
Not in the drunkard`s craze
Niether awake, nor in a sleeping daze

Bulleh! to me, I am not known

In happiness nor in sorrow, am I
Neither clean, nor a filthy mire
Not from water, nor from earth
Neither fire, nor from air, is my birth

Bulleh! to me, I am not known

Not an Arab, nor Lahori
Neither Hindi, nor Nagauri
Hindu, Turk (Muslim), nor Peshawari
Nor do I live in Nadaun

Bulleh! to me, I am not known

Secrets of religion, I have not known
From Adam and Eve, I am not born
I am not the name I assume
Not in stillness, nor on the move

Bulleh! to me, I am not known

I am the first, I am the last
None other, have I ever known
I am the wisest of them all
Bulleh! do I stand alone?

Bulleh! to me, I am not known

Bulleh Shah (1680–1757) (Punjabi: بلہے شاہ, ਬੁੱਲ੍ਹੇ ਸ਼ਾਹ, Hindi: बुल्ले शाह, full name Abdullah Shah)was a Punjabi Sufi poet, a humanist and philosopher.

Bulleh Shah practiced the Sufi tradition of Punjabi poetry established by poets like Shah Hussain (1538–1599), Sultan Bahu (1629–1691), and Shah Sharaf (1640–1724).
Bulleh Shah lived in the same period as the Sindhi Sufi poet , Shah Abdul Latif Bhatai (1689–1752). His lifespan also overlapped with the Punjabi poet Waris Shah (1722–1798), of Heer Ranjha fame, and the Sindhi Sufi poet Abdul Wahab (1739–1829), better known by his pen-name, Sachal Sarmast (“truth seeking leader of the intoxicated ones”). Amongst Urdu poets, Bulleh Shah lived 400 miles away from Mir Taqi Mir (1723–1810) of Agra. The verse form Bulleh Shah primarily employed is called the Kafi, a style of Punjabi, Sindhi and Siraiki poetry used not only by the Sufis of Sindh and Punjab, but also by Sikh gurus.Bulleh Shah’s poetry and philosophy strongly criticizes Islamic religious orthodoxy of his day.

Sriramchandra Krupalu Bhajamana - Sant Tulsidas

Rattan Mohan Sharma


M S Subbalakshmi


Lata Mangeshkar

Shriramachandra kripalu bhaju man haran bhavabhai darunam ,
Navakanja-lochana, kanjamukhqa, kara kanja pada kanjarunam.

Shriramachandra kripalu bhaju man haran bhavabhai darunam

Kandarpa aganita amit chavi nve neel-neerada sundaram,
Pata peet manahu tadita ruchi shuchi noimi janaka sutavaram.
(Shri ramchandra kripalu...)

Bhaju deenbandhu dinesh danav-daitya-vansha-nikandanam,
Raghunand anandakand koshalachand dasharath-nanadanam.
(Shri ramchandra kripalu...)

Sira mukuta kundala tilaka charu udaru anga vibhushanam,
Aajaanubhuja shara-chaapa-dhara, sangrama-jita-khara dushanam.
(Shri ram chandrakripalu..).

Iti vadati tulasidasa shankara-sesha-muni-mana-ranjanam,
Mama hridai kanja-nivaasa kuru, kaamaadi khala-dala-ganjanam.
(Shri ramchandra kripalu..)

Manu jaahni raacheu milihi so baru sahaj sundar savaro,
Karuna nidhaan sujaan seelu sanehu jaanat raavaro.
(Shri ramchandra kripalu...)

Yahi bhanti gouri asees suni sia sahit hian harshinali,
Tulasi bhavanih pooji puni puni mudit man mandir chali.
Shri Ramchandra Kripalu...)


Shriramachandra kripalu bhaju mana harana bhavabhaya darunam,
Navakanja-lochana, kanjamukha kara kanja pada kanjarunam.

O blessed mind! Always meditate upon Lord SriRAmachandra, Who is full of Grace! He surely eliminates the dreaded fear of Bhava (transmigration through worldly existence), which is extremely fierce! Oh, fortunate mind! Adore the beauty of His eyes, resembling the pink petals of freshly bloomed lotus. Worship His tender, fragrant, lotus face, the delicate reddish lotus flowers of His hands and feet. || 1 ||
Kandarpa aganita amita chavinava neela-neeraja sundaram,
Pata peeta manahu tadita ruchi shuchi noumi, janaka sutavaram.
I prostrate to the most handsome Lord having infinite charm, whose beauty excels uncountable cupids, and whose transcendental bodily luster resembles dark, fresh rain-filled clouds. My sincere salutations to the chosen Groom of SitA Devi, the divine Daughter of King Janaka, and to the Lord Who is clad in ever pure yellow silk garments, shining as bright as the lightning. || 2 ||

Bhaju deenbandhu dinesha danava-daitya-vansha-nikandanam,
Raghunanda anandakanda koshala chandra dasharatha-nanadanam.
O naive mind! Meditate upon the glory of Lord RAma, Who is the true Friend of the poor and afflicted, the sole Refuge of the distressed! Being the effulgent transcendental sun, my Lord has destroyed the ignorant, evil-minded demons by His prowess. The beloved Son of King Dasaratha, who is the very source of Bliss, is also the source of joy and pride to the entire Raghu dynasty. He ever reigns over the kingdom of Kosala and shines as the cool transcendental moon. || 3 ||

Shira mukuta kundala tilaka charu udaru anga vibhushanam,
Aajaanubhuja shara-chaapa-dhara, sangrama-jita-khara dushanam.
O restless mind! Fondly remember the tall, enchanting Personality of Beloved RAma, Who is adorned with the Royal crown, charming earrings, beautiful auspicious mark of Tilak on forehead along with other elegant jewels on His blessed body, Always think of His extremely charming form, holding the victorious bow and arrows in his lovely long arms which reach all the way up to knee-point (AjAnubhuja), He who conquered the fierce demons like Khara and Dushana in battle. || 4 ||

Iti vadati tulasidasa shankara-sesha-muni-mana-ranjanam,
Mama hridaya kanja-nivaasa kuru, kaamaadi khala-dala-ganjanam
Tulasi DAsa is glorifying his Lord thus, "O Lord, Who is the Source of unlimited Divine Bliss to the minds of Lord Shiva, Shesha as well as all other great Sages, O my beloved Lord, please reside in my Lotus-Heart, so that all the worldly desires and other offenses can be destroyed completely. " || 5 || - Sant Tulsidas (16th Century)

Tulsidas (also Tulasidas, Gosvāmī Tulsīdās, Tulasī Dāsa) (1532 – 1623) Devanāgarī: तुलसीदास) was a great Awadhi bhakta (devotee), philosopher, composer, and the author of Ramcharitmanas, an epic poem and scripture devoted to the Hindu God Rama

Aisi Laagi Lagan - Meerabai

Anup Jalota


Anuradha Paudwal

Aisi laagi lagan, Meera ho gayi magan,
woh to gali gali hari gun gaane lagi,
mehlon mein pali,ban ke jogan chali,
meera rani deewani kahane lagi.

Aisi laagi lagan..

Koi roke nahi, koi toke nahi,
meera govind gopal gaane lagi,
baith santon ke sang,rangi Mohan ke rang,
Meera premi pritam ko bulaane lagi
woh to gali gali hari gun gaane lagi....

Aisi laagi lagan..

rana ne vish diya, maano amrit piya,
meera sagar mein sarita samaane lagi,
dukh laakhon sahe,mukh se govind kahe,
Meera premi pritam ko bulaane lagi
woh to gali gali hari gun gaane lagi....

Aisi laagi lagan..

Meera Bai was born a princess in Merta, Rajasthan, India (1499 - 1546 A.D)
She was one of the foremost exponents of the Prema Bhakti (Divine Love) and an inspired poetess. She is regarded as an incarnation of Radha. She sang in vraja-bhAshA, sometimes mixed with rAjasthAni, in praise of Giridhara GopAla (Shri Krishna), her lord for whom she developed in her heart the most intense love and devotion.
Meera occupies indeed a sacred place in the history of Indian thought and culture for her deep and passionate religious devotion, as also for her poetry in which her genius was well revealed, and which was never bereft of beauty in the true sense of the term. Her odes and hymns are so rich, sweet and inspiring, not because of any high rhetoric or dexterity of language, but because they are characterized by a tenderness and simplicity of feeling as genuine outpourings of a heart completely dedicated to God.

Man Kunto Maula - Hazrat Amir Khusro

Nusrat Fateh Ai Khan


Abida Perveen


Shujaat Hussain Khan


Jafar Husain Khan Badayuni


Smita Bellur


Zila Khan

shaah-e-mardaaN
sher-e-yazdaaN
quvvat-e-parvardigaar
laa fataa illaa Ali
laa saif illaa zulfiqaar

King of the brave,
lion of God,
[and] strength of God.
There is no one like Ali [and]
there is no sword like Zulfiqaar*.

* Zulfiqaar was the sword of Ali presented to him by Muhammad.

Ali imaam-e-manasto manam Ghulaam-e-Ali
hazaar jaan-e-giraamii fidaa-e-naam-e-Ali

Ali is the master of all, I am the slave of Ali
thousands life are to be sacrificed for Ali.

man kunto maulaa
fa haaza Aliun maulaa

To whom I am the master
Ali is the master.

Note: A famous tradition (hadith) of Prophet Muhammad. Ali was his cousin and son-in-law.

daaraa dil daaraa dil daar-e-daanii
tum tum taa naa naa naanaa, naanaa naanaa re
yaalaalii yaalaalii yaalaa, yaalaa yaalaa

Mystical chants sung by Sufis without any specific meaning.

In some versions, Nusrat has also recited the following stanza:

Ali shaah-e-mardaaN imaamun kabiiraa
ke baadasht nabii shud bashirush naziiraa

Ali is the king of the brave and the great leader
because after the Prophet there is Ali.

Mann Mast Hua Phir Kya Bole - Sant Kabirdas

Prahlad Tipanya, Malwa, Folk


Shabnam Virmani, filmaker and director of Kabir Project


Gurumaa, Bhajan

Man mast hua, ab kyon dole
Man mast hua, mast hua, ab kyon dole
Man mast hua, ab kyon dole

Halki thi tab chadi taraaju,
Bhaari bhayi ab kyon tole

Man mast hua, ab kyon dole
Man mast hua, mast hua, ab kyon dole
Man mast hua, ab kyon dole

Heera paayo gaanth gathaayo,
Baar-baar ba ko kyon khole

Man mast hua, ab kyon dole
Man mast hua, mast hua, ab kyon dole
Man mast hua, ab kyon dole

Ghatt hi mein tere sahib betha,
Baahar naina kyon khole

Man mast hua, ab kyon dole
Man mast hua, mast hua, ab kyon dole
Man mast hua, ab kyon dole

Kehat kabir suno bhayi saadho
Sahib mil gaya dil ohle

Man mast hua, ab kyon dole
Man mast hua, mast hua, ab kyon dole
Man mast hua, ab kyon dole

Kabir [1398-1488]
Kabir was a weaver and mystic poet from northern India and lived in Hindu holy city of Benares. He was an important influence on the Hindus and Muslims of his time and also a profound influence on Guru Nanak, the first guru of the Sikh religion. Many poems of Kabir can be found in the Guru Granth Sahib, the sacred scriptures that form the Guru of Sikhism.

Kabir was born in a weaver's family and later adopted by childless Muslim weavers named Niru and Nimma, who found him near Lahara Tara lake, adjacent to the holy city of Varanasi. [3] But his birth is surrounded by legends. Some say he was really the son of a Brahmin widow, adopted by the Muslim couple. [4]

Early in his life Kabir became a disciple of the Hindu bhakti saint Ramananda. It was unusual for a Hindu teacher to accept a Muslim student, but legend has it the young Kabir found a creative way to overcome all objections. Kabir knew which temple Ramananda meditated in each day before dawn, and Kabir lay down on the steps outside. Ramananda walked out in the dark and stepped on the boy's body. Astonished, he leaped up, and cried, "Rama!" Kabir then jumped up and said, "You spoke the name of God in my presence. You initiated me. I'm your student!"[5]

A Bhakti saint, who sang the ideals of seeing all of humanity as one, his name, Kabir, is often interpreted as Guru's Grace.

A weaver by profession, Kabir ranks among the world's greatest poets. In India, he is perhaps the most quoted author. The Holy Guru Granth Sahib contains over 500 verses by Kabir. The Sikh community in particular and others who follow the Holy Granth, hold Kabir in the same reverence as the other ten Gurus.

Kabir openly criticized all sects and gave a new direction to the Indian philosophy. This is due to his straight forward approach that has a universal appeal. It is for this reason that Kabir is held in high esteem all over the world. To call Kabir a universal Guru is not an exaggeration.

Kabir is also considered one of the early northern India Sants. One source for modern adaptations of Kabir's poetry is Robert Bly's The Kabir Book: Forty-Four of the Ecstatic Poems of Kabir.

The details of Kabir's life are mixed with legends - some say he married one Loi and brought up two adopted children Kamal and Kamali, and that Emperor Sikandar Lodi, angered by Kabir's refusal to salute him tried to get him killed by drowning, burning and other means of torture.

Throughout his life Kabir preached and worked as a weaver in the neighbourhood of Benares. Owing to his teachings he was an object of dislike both to Hindus and to Muslims, and it is said that he was denounced to Sikandar Lodi, king of Delhi, as laying claim to divine attributes, but escaped by his ready tongue.


Kabir died at Maghar near Gorakbpur, and a dispute at once arose as to the disposal of his remains, which were claimed, by Hindus and Muslims, the former desiring to cremate and the latter to bury them. While they wrangled, Kabir himself appeared and bade them raise the cloth which covered the corpse. When this was done, it was found that the body had vanished, but a heap of flowers occupied its place. Half of these were burnt after the Hindu custom at a spot now known as Kablr Chaura in Benares, and the rest were buried at Maghar, which became the headquarters of the Muslim portion of the sect that still follows Kabir. They are named Kabirpanthis. A tomb was built there which was subsequently repaired about 1867 by a Muslim officer of the Mughal army.


The basic religious principles he espouses are simple. According to Kabir, all life is an interplay of two spiritual principles. One is the personal soul (Jivatma) and the other is God (Paramatma). It is Kabir's view that salvation is the process of bringing into union these two divine principles.
Source: Wikipedia

Vocalist: Prahlad Tipanya and ensemble are folk singers are from Ujjain district, Madhya Pradesh in India

Koi Sunta Hai - Sant Kabir

Rajasthani Sufi Mirasi singer Mukhtiyar Ali with Malwa Folk singer Prahlad Tipanya


Kumar Gandharv, Classical


Rahul Deshpande, Nirgun Bhajan

http://www.cultureunplugged.com/play/2833
Journeys with Kumar and Kabir, film by Shabnam Virmani

Sunta hai guru gyani
Gagan me awaaz ho rahi hai jheeni jheeni
Sunta hai guru gyani

Paahi liyaye
Naad bindu se peechhe jamaya paani ho ji
Sab ghat puran guru rahya hai
Alakh purush nirvaani ho ji
Sunta hai guru gyani

Vahaa se aaya pata likhaya
Trushna toone bujhai
Amrut chhod chhod vishay ko dhaave
Khol de phaans phansaani ho ji
Sunta hai guru gyani

Gagan mandal mein koi
Boi pe dahi jamaya
Makhan makhan santon ne khaya
Chhar jagat babarani ho ji
Sunta hai guru gyani

Bin dharti ek ma daal deeje
Bin taruvar joo paani re
Gagan mandal me hoye ujiyala
Bol guru-mukh baani ho ji
Sunta hai guru gyani

Oham soham baja baje
Tipu ki tham suhani re
Ida pingala sukhman nari
Sunatha ja behrani ho ji
Sunta hai guru gyani

Kahe Kabir suno bhai saadho
Jaag agam ke baani re
Din bhar re jo nazar bhar dekhe
Ajar amar ho nishani ho ji

Sunta hai guru gyani
Gagan me awaaz ho rahi hai jheeni jheeni
Sunta hai guru gyani

Kumar Gandharva(1924-1992)
Kannada: ಕುಮಾರ ಗಂಧರ್ವ) or Shivaputra Siddramayya Komkalimath was a Hindustani classical singer, famous for his unique vocal style, refusal to be bound by the tradition of any gharana, and his innovative genius. The name Kumar Gandharva is a title given to him when he was a child prodigy; a Gandharva is a musical spirit in Hindu mythology.Kumar Gandharva was awarded the Padma Vibhushan award in 1990.

After his first wife Bhanumati's death in 1961, Kumar married Vasundhara Shrikhande, another of his fellow-students at Deodhar School. Vasundhara Komkalimath formed a memorable duo with him in bhajan singing.Their daughter Kalapini Komkalimath would later accompany both her parents on tanpura.Some of Kumar Gandharva's ideology is carried forward by his son Mukul Shivaputra Komkalimath and daughter, as well as students such as Madhup Mudgal, Shubha Mudgal, Vijay Sardeshmukh and Satyasheel Deshpande. Kumarji's grandson Bhuvanesh (Mukul Shivaputra's son) has also made a name for himself as classical singer.