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.