62) PRABHU TERO NAAM...............(HUM DONO 1961)[/b]
http://www.musicindiaonline.com/p/x/MJvmBi9q0t.As1NMvHdW/

(Prabhoo tero naam jo dhyaaye phal paaye
sukh laaye tero naam)2

Lord! Your Name brings joy. Anyone who meditates on Your Name is blessed with joy.

(teree dayaa ho jaaye to daataa)2
jeewan dhan mil jaaye mil jaaye mil jaaye
sukh laaye tero naam

O Universal Giver! One is blessed with the Wealth of Life when he enjoys Your Mercy.

jo dhyaaye phal paaye
sukh laaye tero naam)2
Anyone who meditates on Your Name is blessed with joy.

(too daanee) too antar-yaamee)2
teree kripaa ho jaaye to swaamee
har bigaRee ban jaaye
jeewan dhan mil jaaye mil jaaye mil jaaye
sukh laaye tero naam

You are omnipresent and forever giving, all difficult situations are rectified when we enjoy your mercy. You are the one to bestow the wealth of life upon us

jo dhyaaye phal paaye
sukh laaye tero naam

(bas jaaye) moraa sunaa anganaa)2
khil jaaye murazaayaa(mur-jhaayaa) kanganaa
jeewan mein ras aaye
jeewan dhan mil jaaye mil jaaye mil jaaye
sukh laaye tero naam

Let my empty life be filled with happines. Let the flower of my life, now withering, blossom again and bring enthusiasm in my life again.

(jo dhyaaye phal paaye
sukh laaye tero naam)2

Trans:Atma Geet: submitted by Mitwah:

Bhajan

A bhajan or kirtan is a Hindu devotional song, often of ancient origin. Great importance is attributed to the singing of bhajans with Bhakti, i.e. loving devotion. "Rasanam Lakshanam Bhajanam" means the act by which we feel more closer to our inner self or God, is a bhajan. Acts which are done for the God is called bhajan.

Kirtans are deeply rooted in Vedic tradition. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine, whether for a single God/Goddess, or any number of divinities. Many bhajans feature several names and aspects of the chosen deity, especially in the case of Hindu sahasranamas, which list a divinity's 1008 names.

Traditionally, the music has been Indian classical music, which is based on ragas and tala (rhythmic beat patterns) played on the Veena (or Been), Sarangi Venu (flute), Mridanga (or Tabla); all traditional Indian instruments. The Sikh Scripture contains 31 ragas and 17 talas which form the basis for kirtan music compositions.



[The groundwork for the bhajans was laid in the hymns found in Sama Veda, the third Veda in the Hindu scriptures. They are distinguished from the Sanskrit shlokas by virtue of their easy, lilting flow, their colloquial renderings and their profound appeal to the masses. Bhajans are sung in a group of devotees, with a designated lead singer. Anecdotes, episodes from the lives of Gods, preachings of saints and descriptions of gods' glories have been the subject of bhajans. The Dhrupad style is a famous form of bhajan. Another well-known form of the bhajan is the kirtan, or, song in the Haridas tradition.

Types of Bhajans
A look into the past reveals that bhajans as a genre have come a long way; weaving a home for themselves into the core of human hearts. Traditions of bhajan — singing, such as Nirguni, Gorakhanathi, Vallabhapanthi, Ashtachhap and Madhura-bhakti, have been formed over the ages. Each sect has their own sets of bhajans and methods of singing.

The traditional form of bhajan in south india is known as Sampradya Bhajans. In the past few decades, this has seen a lot of upswing in popularity thanks mainly to Swami Haridhos Giri[citation needed].

Great Exponents
The medieval age saw devotees like Tulsidas, Surdas, Mirabai, Narottama Dasa (founder of Garan-hati style), Kabir and others composing bhajans. In the modern times, composers like Pt. V. D. Paluskar and Pt. V. N. Bhatkhande have tried to mingle Raga Sangeet or Indian classical music - which had been an exclusive domain of the elite - with bhajans, thereby democratizing the Rāga tradition. Chanting of bhajans and kirtan continues to be a favorite mode of worship in the Bhakti tradition of Hinduism, a tradition often regarded as far more accessible to the average person. This popularity is also reflected in the emphasis of many different gurus on chanting.

The bhajan form has also been used in Sufi qawwali, especially by Aziz Mian .

Modern Forms
While most Hindus devoutly sing bhajan in its more traditional form, members of some movements have also experimented with the incorporation of non-Indian instruments like the guitar and interspersing Western themes like jazz. This is especially apparent in movements including significant numbers of western followers such as International Society for Krishna Consciousness.

Mixture of Modern and traditional forms
Bhajan in a traditional form popularised by the name "Sringeri Bhajans" and "Jyothirbhajan" since 50 years by Sri.R.V.Krishnabhat in Bangalore besides his teacher profession. Bhajans with the flavour of classical ragas and touch of tala perfection is the speciality of Sringeri bhajans. It also has mix of modern bhajans, kirtans and traditional bhajans. Jyothirbhajan is the most important part of it which has gained popularity besides the usual bhajans.

Usage in Surat Shabd Yoga
In Surat Shabd Yoga, the spiritual exercises (sadhanas) include repetition, particularly silent repetition of a mantra given at initiation), and bhajan (listening to the inner sounds of the or the Shabd Master).

Ghazal

In poetry (and as the lyrics in songs), the ghazal (Arabic/Persian/Urdu: غزل; Turkish gazel) is a poetic form consisting of couplets which share a rhyme and a refrain. The word literaly refers to "the mortal cry of a gazelle". The animal is caled Ghizaal, from which the English word gazelles stems, or Kastori haran (where haran refers to deer) in Urdu. The allegory stems from the notion that Ghazals are usually the expression of love, separation, and loneliness, (these ideas being usually interlinked in the same Ghazal) much to the likeness of musk-developing gazelles, who must be killed to obtain the sweet fragrance they produce. The plaintive, mortal cry that the doe makes upon being killed can be etymologically likened to the painful experience of separation or loss of love. Hence the name and, indeed, inspiration of Ghazal (cf. "Bahr el Ghazal"). The form is ancient, originating in 10th century Persian verse. It is derived from the Persian qasida, which in turn comes from the Arabic form of verse. Formally a short lyric composed in a single metre with a single rhyme throughout, in its style and content it is a genre which has proved capable of an extraordinary variety of expression around its central theme of love. The ghazal is thus itself one of the most striking examples of those successful cultural artefacts, consisting of a seemingly infinitely adaptable combination of essentially simple elements, which are so characteristic of the Persianate civilization of the eastern Islamic world.

The ghazal spread into South Asia in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Exotic to the region, as is indicated by the very sounds of the name itself when properly pronounced as ġazal, with its very un-Indian initial rolled g. Although the ghazal is most prominently a form of Urdu poetry, today, it has influenced the poetry of many languages. Some famous ghazals such as Chhaap tilak by Aamir Khusro are in fact written in the Braj Bhasha dialect

A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qafiya, Radif, Khayaal and Wazan. The traditional complete ghazal has a matla, a maqta, and three other shers in between. The first two shers of a ghazal have the form of a qatha (a specific variation of which is a ruba'ee; most familiar to modern readers from Khayyám's Rubayyat).

Ghazals were written by the Persian mystics and poets Jalal al-Din Muhammad Rumi (13th century) and Hafez (14th century), the Turkish poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), who both wrote Ghazals in Persian and Urdu. Through the influence of Johann Wolfgang von Goethe (1749–1832), the ghazal became very popular in Germany in the 19th century, and the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri-American poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of "real ghazals in English."

The ghazal is a common song form in India and Pakistan today. Strictly speaking, it is not a musical form, but a poetic recitation. Today, however, it is commonly conceived of as an Urdu song, with prime importance given to the lyrics.

In some modernized ghazals the poet's name is hidden somewhere in the last verse, usually between the front and end of a word.

Details of the form
The second line of each couplet in a ghazal ends with the repetition of a refrain of one or a few words, known as a Radif, preceded by a rhyme (though in a less strict ghazal the rhyme does not need to precede the refrain immediately), known as a Qaafiyaa. In the first couplet, which introduces the theme, both lines end in the rhyme and refrain. I.e. AA BA CA etc
There can be no enjambment across the couplets in a strict ghazal; each couplet must be a complete sentence (or several sentences) in itself.
All the couplets, and each line of each couplet, must share the same meter.
Ghazal is simply the name of a form, and is not language-specific. Ghazals also exist, for example in the Pashto and Marathi languages.
Some Ghazals do not have any Radif. This is, however, rare. Such Ghazals are called "gair-muraddaf" Ghazal.
Although every Sher, should be an independent poem in itself, it is possible for all the Shers to be on the same theme. Or even have continuity of thought. This is called a musalsal ghazal, or "continuous ghazal". The Ghazal "Chupke chupke raat din aasun bahaanaa yaad hai" is a famous example of this.
In modern Urdu poetry, there are lots of Ghazals which do not follow the restriction of same Beher on both the lines of Sher. But even in these Ghazals, Kaafiyaa and Radif are present.
The restriction of Maqta has become rather loose in modern times. The Maqta was used historically as a way for the poet to secure credit for his or her work and poets often make elegant use of their takhallus in the maqta. However, many modern Ghazals do not have a Maqta or, many Ghazals have a Maqta just for the sake of conforming to the structure or tradition. The name of the Shayar is sometimes placed unnaturally in the last Sher of the Ghazal.



Persian historian Ehsan Yar-Shater notes that "As a rule, the beloved is not a woman, but a young man. In the early centuries of Islam, the raids into Central Asia produced many young slaves. Slaves were also bought or received as gifts. They were made to serve as pages at court or in the households of the affluent, or as soldiers and body-guards. Young men, slaves or not, also, served wine at banquets and receptions, and the more gifted among them could play music and maintain a cultivated conversation. It was love toward young pages, soldiers, or novices in trades and professions which was the subject of lyrical introductions to panegyrics from the beginning of Persian poetry, and of the ghazal." (Yar-Shater, Ehsan. 1986. Persian Poetry in the Timurid and Safavid Periods, Cambridge History of Iran. Cambridge: Cambridge University Press, pp.973-974. 1986)

The ghazal is always written from the point of view of the lover who is unable to attain his beloved, because either the beloved is just playing with the poet's feelings, or because the societal circumstances do not allow it. The lover is aware and resigned to this fate, but continues loving nonetheless. It is not important to the lover that the beloved does not echo the same feelings towards him. The beloved is often portrayed in exaggerated terms, with extended metaphors about the "arrows of her eyes", or referring to the beloved as an assassin or a killer. Take for example the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil bood shab:

Nami danam chi manzil bood shab jaay ki man boodam;
Baharsu raqs-e bismil bood shab jaay ki man boodam.
Pari paikar nigaar-e sarw qadde laala rukhsare;
Sarapa aafat-e dil bood shab jaay ki man boodam.

I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony.
There was a nymph-like beloved with cypress-like form and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.

(translated by S.A.H. Abidi)

The lover for his part portrayed as a spineless individual resigned to his fate that has no choice but to continue hopelessly loving his beloved. He almost enjoys the pain and torment that the beloved puts him through, for that is better than nothing. This is illustrated in the following couplet from Ahmed Faraz's Urdu ghazal "Ranjish hi sahi":

ranjish hi sahi dil hi dukhane ke liye aa
aa phir se mujhe chhod ke jaane ke liye aa

Misery at least; come, even if it is to break my heart
Come, even if it is so that you can leave me once again

Labon pe jo aya nahin woh dil ne suna hai
nazar main jo sawal hai woh hum ko pata hai
yeh sabza e begana ho ab kaise khush nazar
ab ke jo aa rahe hai muqtal ki hawa hai



In the context of Sufism
It is not possible to get a full understanding of ghazal poetry without at least being familiar with some concepts of Sufism. All ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers of Sufi ideas. Most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God, or the poet's spiritual master. It is the intense Divine Love of sufism that serves as a model for all the forms of love found in ghazal poetry. An example of this can be found in following ghazal by Amir Khusru:

Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay


You've taken away my looks, my identity, by just a glance. By making me drink the wine of love-potion, You've intoxicated me by just a glance; My fair, delicate wrists with green bangles in them, Have been held tightly by you with just a glance. I give my life to you, Oh my cloth-dyer, You've dyed me in yourself, by just a glance. I give my whole life to you Oh, Nijam, You've made me your bride, by just a glance.

Another example of an overtly mystic ghazal is an existentialist Urdu couplet produced by Ghalib: nah thā kuchh to khudā thā kuchh nah hotā to khudā hotā
duboyā mujh ko hone ne nah hotā maiñ to kyā hotā

1a) when there was nothing, then God was; if nothing existed, then God would exist
1b) when I was nothing, then God existed; if I were nothing, then God would exist
1c) when I was nothing, then I was God; if I were nothing, then I would be God

2a) 'being' drowned me; if I were not I, then what would I be?
2b) 'being' drowned me; if I did not exist, then what would I be?
2c) 'being' drowned me; if I were not I, then what would exist?
2d) 'being' drowned me; if I did not exist, then what would exist?
2e) 'being' drowned me; if I were not I, then so what?
2f) 'being' drowned me; if I did not exist, then so what?

(Translation by FW Pritchett)

Another version of this poem is:

When I was none I was in god,
If had been, none would have been Him.
It is 'being' that ditched me,
Would it have mattered if I would not have been?

Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi), others are about "metaphorical love" (ishq-e-majazi), but most of them can be interpreted in either context. In either case, the metaphor employed for this love is usually that of love for a beautiful boy, a love that has deep roots in the Sufi practice of Nazar ill'al-murd. Sadiq Muhammad, in his History of Urdu Literature, treats the topic in derogatory terms, calling the love theme of the ghazal "a torture, a disease" a "morbid and perverse passion" and denounces it as a "legacy from Persia ultimately traceable to homosexual love."


Western context: English-language ghazal
After nearly a century of "false starts" (that is, early exploratory instances by James Clarence Mangan, James Elroy Flecker, Adrienne Rich, Phyllis Webb., etc., many of which not adhering wholly or properly to the traditional principles of the style), the ghazal finally began to be recognized as a viable closed form in English-language poetry sometime in the early to mid 1990s. This came about largely as a result of serious, true-to-form examples being published by noted American poets John Hollander, W. S. Merwin and Elise Paschen, as well as by acclaimed Kashmiri-American poet Agha Shahid Ali (d. 2001), who had been teaching and spreading word of the ghazal at various U.S. universities over the previous two decades. Ali, it is worth noting, had also published by this time a collection (The Rebel's Silhouette) of translations of the legendary Urdu poet Faiz Ahmed Faiz (b. 1911, d. 1984), and although the selected poems were presented in English in a free verse style, their romantic and revolutionary-Marxist sociopolitical impact was not entirely lost upon Western readers.

Recognizing the growing interest, in 1996 Ali decided to compile and edit the world's first anthology of English-language ghazals. Finally published by Wesleyan University Press in 2000, Ravishing DisUnities: Real Ghazals in English served as material proof that the ghazal had indeed finally arrived in the English-speaking Western world. Sadly, Ali did not live long enough to witness the book's full impact and further evolution of the Western ghazal, succumbing to brain cancer in December 2001.

Much of the ghazal's English-language evolution in the years subsequent to Ali's death can be seen in or traced to the work of R. W. Watkins and Gene Doty (also known as Gino Peregrini). Watkins, a rather controversial enfant terrible on the fringes of avant-garde Canadian poetry, launched Contemporary Ghazals, the world's first English-language poetry journal dedicated exclusively to the ghazal, in the spring of 2003. Four years before that, Doty introduced The Ghazal Page, a website dedicated to the verse form in English. Both have done much to advance the Western ghazal, publishing many new and seasoned practitioners alike, critical essays and articles, and translations or adaptations of classic Arabic, Persian and Urdu ghazals.

Other notable English-language poets currently working in the ghazal form include Marcyn Del Clements, R. L. Kennedy, Teresa M. Pfeifer, Taylor Graham and Denver Butson. Also, vocalist and poet Paula Jeanine explores the ghazal musically in her project, American Ghazal.


Ghazals composed in English by Western poets
Agha Shahid Ali, "The Country Without A Post Office", "Ghazal ('...exiles')"
Denver Butson, "Drowning Ghazals (1, 2 & 3)", "Four Drowning Ghazals"
Robert Bly, The Night Abraham Called to the Stars and My Sentence Was a Thousand Years of Joy
Gabrielle Calvocoressi, "Backdrop"
Marcyn del Clements, "Night"
William Dennis, "Lunar Ruin", "Brim-Full Again",
Gene Doty (also known as Gino Peregrini), "Ghazal Spirit", "...silence"
Taylor Graham, "A Ghazal of Gardens", "Almost Every Day Now"
John Hollander, "Ghazal On Ghazals"
R. L. Kennedy, "Memphis Jazz"
Maxine Kumin, "On the Table"
W. S. Merwin, "The Causeway"
William Matthews, "Guzzle", "Drizzle"
Elise Paschen, "Sam's Ghazal"
Teresa M. Pfeifer, "In Open Meadow"
Spencer Reece, "Florida Ghazals"
Adrienne Rich, "Ghazals: Homage to Ghalib"
R. W. Watkins, "That Nice, Clean, Filthy Lucre", "Ghazal For Shahid"
Bill West, "Daybreak"
Bruce Williams, "End Without World"
John Edgar Wideman, "Lost Letter"
Robert Pinsky, "The Hall"

Amazing Grace Hymn
Amazing grace! How sweet the sound
That saved a wretch like me!
I once was lost, but now am found;
Was blind, but now I see.

'Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I first believed.

Through many dangers, toils and snares,
I have already come;
'Tis grace hath brought me safe thus far,
And grace will lead me home.

The Lord has promised good to me,
His word my hope secures;
He will my shield and portion be,
As long as life endures.

Yea, when this flesh and heart shall fail,
And mortal life shall cease,
I shall possess, within the veil,
A life of joy and peace.

The world shall soon dissolve like snow,
The sun refuse to shine;
But God, who called me here below,
Shall be forever mine.

When we've been there ten thousand years,
Bright shining as the sun,
We've no less days to sing God's praise
Than when we'd first begun.

Just A Closer Walk With Thee Hymn
I am weak, but Thou art strong;
Jesus, keep me from all wrong;
I’ll be satisfied as long
As I walk, let me walk close to Thee.

Refrain

Just a closer walk with Thee,
Grant it, Jesus, is my plea,
Daily walking close to Thee,
Let it be, dear Lord, let it be.

Through this world of toil and snares,
If I falter, Lord, who cares?
Who with me my burden shares?
None but Thee, dear Lord, none but Thee.

Refrain

When my feeble life is o’er,
Time for me will be no more;
Guide me gently, safely o’er
To Thy kingdom shore, to Thy shore.

Refrain

http://www.bhaktisangeet.com/bhajan/mata/matarani/matarani1.html

just finished listening to the above ....
now i will go to bed...cuddle my lil one and go to sleep...

you all fight, insult and commit crimes against the name you choose to call your GOD>>>

Jai Durga Mata :)

Good Morning, Ram Ram, Namaste, Salam

Just enjoying some bhajans

jo raam naam nahi gaate

quote:

Originally posted by asj:
Brindaban Ka Krishna Kanhaiya

.

one of my fave oldies..thank god we can go back and listen to these.

Asj, you should do a feature on Hari Om Sharan. We discussed him in the first few pages of this thread.

SUNDAY'S DEVOTIONALSUNDAY'S DEVOTIONAL

Jagat Ka Rakhwala Bhagwan - Mohd. Rafi.mp3
.

Dedicated to all the GNI mothers and Grand Mothers..

Tu Kitni Achhi Hai(Raja Aur Runk)

(Tu kitni achhi hai, tu kitni bholi hai
Mother, You are so good to us, you are so simple / innocent with us
Pyaari pyaari hai, oh maa oh maa oh maa oh maa) /2
You are so very loveable with us, oh Maa! oh Maa!
Ke yeh jo duniya hai, yeh ban hai kaanton ka
The world is like a garden filled with thorns (thorny situations)
Tu phulwaari hai, oh maa oh maa oh maa, oh maa
But your face is like a flower garden that makes us smile Oh Maa!



Dukhne lagi hai maa teri aankhiyaan
Your eyes must be tired and sored,
Mere liye jaagi hai tu, saari saari ratiyaan
You have been awake for me, all nights (to take care of my needs when I was a baby)
Meri nindiyaan pe, apni nindiyaan bhi
Tune maari hai, oh maa oh maa oh maa, oh maa
You have sacrificed your sleep so I could sleep well, oh my dear Maa


Apnaa nahin tujhe, sukh dukh koi
You don't worry about your own happiness and grief
Main muskaaya tu muskaayi, main roya tu royi
When I smile, you smile, When I cry, you cry
Mere hansne pe, mere rone pe
Tu balihaari hai, oh maa oh maa oh maa, oh maa
You are totally surrendered to my crying and my laughing oh dear Maa!


Maa bachon ki jaan hoti hai
A mother is the very life of her children
Voh hote hai kismat waale, jinki maa hoti hai
Those (children) are the fortunate ones, the ones who’s mothers are alive
Kitni sundar hai, kitni sheetal hai
You are so beautiful, You are so gentle (devoid of passion)
Nyaari nyaari hai, oh maa oh maa oh maa, oh maa
You are so very wonderful!!, oh Maa

Tu kitni achhi hai, tu kitni bholi hai
Mother, You are so good to us, you are so simple / innocent with us
Pyaari pyaari hai, oh maa oh maa oh maa, oh maa
You are so very loveable with us, oh Maa! oh Maa!


Please note, I have edited the literal translation to bring out the essence and the message of this beautiful rendition to a mother.

Enjoy!

Mits, many thanks.

JAI BAJARANGA BALI

Aaj mangalvaar hai, mahaveer kavaar hai, ye sacha darbaar hai,
sacche mann se jo koi dhyaave uska bera paar hai

Chhait sudeep punam mangal ka [janam veer ne paaya hai – 2x]
Laal langoat katha haath hai, sirpar mukut sajaaya hai…sirpar mukut sajaaya hai
Shankar ka avtar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Brahmaji ke brahma gyaan ka, phal bhi tum ne paaya hai…phal bhi tum ne paaya hai
Raam kaaj shiva Shankar neva narkaa roop dhaariya hai, maa narkaa roop dhaariya hai
leela aparam paar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Baala pan mein mahaveer ne haradam gyaan lagaaya hai…haradam gyaan lagaaya hai
Shram diya rishiyo ne tum ko, brahm dhyaan lagaaya hai…brahm dhyaan lagaaya hai
Oh…ram rama raar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Raam janam hu ayodhya mein kaisa naach nachhaya hai…kaisa naach nachaaya hai
Kaha raam ne lakshman se yaha Vaanar manko bhaaya hai…vaanar manko bhaaya hai
Raam charan se pyaar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Panchavatie se maata ko jab raavan lekar aaya hai…raavan lekar aaya hai
Lanka mein jaa kar tum neva maata ka paata lagaaya hai…maata ka paata lagaaya hai
Aakhshaar kumaar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Meghanaath mein brahm paash mein tum ko aan pasaaya hai…tum ko aan pasaaya hai
Brahm paash mein paskar ke Brahma ka maan baraaya hai…brahma ka maan baraaya hai
Bajarangjivaad-ki maar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai

Lanka jalaayi aapa-ne jab raavan bhi ghabaraaya hai…jab raavan bhi ghabaraaya hai
Shri raam lakhan ko aana kara maa ka sandesh sunaaya hai…maa ka sandesh sunaaya hai
Sita shok apaar hai, mahaveer kavaar hai, sache mann se jo koi dhyaave uska bera paar hai
[Aaj mangalvaar hai, mahaveer kavaar hai, ye sacha darbaar hai, sacche mann se jo koi dhyaave uska bera paar hai…4x]

For Mother's Day Tomorrow

http://www.youtube.com/watch?v=KW5dU6NWo4c