Khemta is the taal or style of the drumming. The song is a bhajan raag prabhatie. Old singers always told the drummer what style to play by calling out khemta etc. Much of this was done because there were no musical schools or teachers. We also had selfish leaders who did not want to educate others. Adhering to social order of some kind. Hence the reason our people never learned, speak or will speak hindi. Study our social order and you will find answers. Do not depend on leadership, you will remain lost. "Seek and you shall find". Blessings !
You made my day with this song. When my dad was alive he would put on some Sookdeo Sookraj and we will play some all fours. This song was my favorite and i was looking for it online and finally I got it. Thank you so much.
(Dohā) Nand ghar mākhan churāne-vālā, tum hitā ho. Bindrāban ke rehane-vālā, tum hitā ho. (ĀĪŪṛāīū) Jamunā tat par rās rachāne-vālā, tum hitā ho. Rādhā ke sang bās khilāne-vālā, O tum hitā ho. 0. Ajī apanā ho, O kaise jiyab morā māyī re; morā Rādhā ne bansī churāye, (morā Rādhā ne bansī churāye). 1. Jhūlī parātha kadama kī chaiyā, Rādhikā matavārī. (2) Rādhikā matavārī matavārī, morā Rādhā ne bansī churāye.
(Ref) Morā Rādhā ne bansī churāye, ai morā (Rādhā ne bansī churāye). Ajī apanā ho, O kaise jiyab morā māyī re, morā Rādhā ne bansī churāye. 2. Māyī sakhiyan ke sang gayī re, Rādhikā chale jā rī. (2) Ham gaiyā ab rahī chaṛhāye (2), venu hamārī ab hāth nihārī. (Ref) 3. Māyī mai' bālaka nādāna, Rādhikā matavārī. (2) Bansī ke kāran ajī jāyengī (2), ab to prān hamārī re hamārī. (Ref) 4. Jhūlī parātha kadama kī chaiyā, Rādhikā matavārī. (2) Rādhikā matavārī matavārī, morā Rādhā ne bansī churāye; ai morā Rādhā ne bansī churāy ! .
Do you have Jagannath puri main thakur bhale biraje? Sorry if I missed spelled it. I grew up hearing that song and I can't find it. Could you please upload it if you have it. Much appreciated.
Aaja Thakur yes i can explain, this is whats knows as trinidad classical singing, brought over by our fore fathers as east indian classical originally, but during the times as slaves music was forgotten, so the indians who were brought over as slaves sang what they could remember and played on the dholak what they could remember, which in turn gave this style of Indian classical music, and which gave you this khimta which i believe is originally dadra taal in its most basic and broken form.
@@MrStorm005 learn your history Indians were not brought here as slaves. You have insulted our ancestors. And don’t tell me I’m wrong, I got a degree in history with specific Indian diaspora studies
@@MrStorm005 Know your history and culture. Although in India they were poor, what held them together is the gathering (under trees?) to sing the folk songs of their religion. that these songs and the style still exist is evidence that they had deep love for their deities in India and hard work did not deter them from practicing and promoting their faith. I was singing once at a function in NYC and afterwards our group was surrounded by Indian nationals inquiring of where we learned these from. A few said that they could faintly remember their grandfathers in India singing these in the evenings. Glance through a book on Indian classical music and you will find the various taals, Khemta, Dadra, Tilana, etc. Our foreparents may not have been able to read and write, but culture was a centerpiece of their existence in a strange land. they know their culture and treasured it.
@@lakhanram11 forgive me uncle🙏🏽, i only speak on what i know, like you said you have a degree, youre speaking to a young man, who had no one to learn from. With with the utmost respect uncle, please do not insult me for not knowing any better and instead provide a better explanation.
Thanks to Moen and Sham for producing and recording such great classics. Long live the classical singers and their songs
Khemta is the taal or style of the drumming. The song is a bhajan raag prabhatie. Old singers always told the drummer what style to play by calling out khemta etc. Much of this was done because there were no musical schools or teachers. We also had selfish leaders who did not want to educate others. Adhering to social order of some kind. Hence the reason our people never learned, speak or will speak hindi. Study our social order and you will find answers. Do not depend on leadership, you will remain lost.
"Seek and you shall find". Blessings !
One of the best local classical Singer that walk this earth..🙏
Nice classical voice.... hope this tradition passes on to next generation.🌹⚘🌷🌷💐💐🌻🌻🌼👍 respect frm India..
I think my dad still has this LP. I wasn't able to appreciate this type of music when I was little but the past 10 years or so they've grown on me.
A beautiful rendition of this song. Should have many, many more views.
You made my day with this song. When my dad was alive he would put on some Sookdeo Sookraj and we will play some all fours. This song was my favorite and i was looking for it online and finally I got it. Thank you so much.
(Dohā) Nand ghar mākhan churāne-vālā, tum hitā ho.
Bindrāban ke rehane-vālā, tum hitā ho. (ĀĪŪṛāīū)
Jamunā tat par rās rachāne-vālā, tum hitā ho.
Rādhā ke sang bās khilāne-vālā, O tum hitā ho.
0. Ajī apanā ho, O kaise jiyab morā māyī re;
morā Rādhā ne bansī churāye, (morā Rādhā ne bansī churāye).
1. Jhūlī parātha kadama kī chaiyā, Rādhikā matavārī. (2)
Rādhikā matavārī matavārī, morā Rādhā ne bansī churāye.
(Ref) Morā Rādhā ne bansī churāye, ai morā (Rādhā ne bansī churāye).
Ajī apanā ho, O kaise jiyab morā māyī re, morā Rādhā ne bansī churāye.
2. Māyī sakhiyan ke sang gayī re, Rādhikā chale jā rī. (2)
Ham gaiyā ab rahī chaṛhāye (2), venu hamārī ab hāth nihārī. (Ref)
3. Māyī mai' bālaka nādāna, Rādhikā matavārī. (2)
Bansī ke kāran ajī jāyengī (2), ab to prān hamārī re hamārī. (Ref)
4. Jhūlī parātha kadama kī chaiyā, Rādhikā matavārī. (2)
Rādhikā matavārī matavārī, morā Rādhā ne bansī churāye;
ai morā Rādhā ne bansī churāy !
.
Well done. Now I think I could go to bed. Thank you all musicians and singer.
❤
I think my dad may actually have this LP. I think I can recall seeing it in his collection as a little girl.
De dhantal sounding good boy!
JUST BEAUTIFUL
Do you have Jagannath puri main thakur bhale biraje? Sorry if I missed spelled it. I grew up hearing that song and I can't find it. Could you please upload it if you have it. Much appreciated.
This is probably the best khemta I've ever heard, could you post more of his songs? much appreciated.
+Bissoondath Ramlal
Will upload more from this classical singer and yes indeed, it is one of the best and cleanest khemta's
Excellent drumming . Not many dholak players could execute this hand. Clean and precise.
Totally agree with your comment
What is the meaning of this song my friend
i like this song please post the copy
+Ramkhabharose
I don't understand, this doesn't sound like Khemta taal
Can someone explain what it means by khemta?
Nice song btw.
Aaja Thakur yes i can explain, this is whats knows as trinidad classical singing, brought over by our fore fathers as east indian classical originally, but during the times as slaves music was forgotten, so the indians who were brought over as slaves sang what they could remember and played on the dholak what they could remember, which in turn gave this style of Indian classical music, and which gave you this khimta which i believe is originally dadra taal in its most basic and broken form.
@@MrStorm005 ,Correction, Paid indentured paid labourers. Not slaves. They were treated and fared much better than east indians at that time period.
@@MrStorm005 learn your history Indians were not brought here as slaves. You have insulted our ancestors. And don’t tell me I’m wrong, I got a degree in history with specific Indian diaspora studies
@@MrStorm005 Know your history and culture. Although in India they were poor, what held them together is the gathering (under trees?) to sing the folk songs of their religion. that these songs and the style still exist is evidence that they had deep love for their deities in India and hard work did not deter them from practicing and promoting their faith. I was singing once at a function in NYC and afterwards our group was surrounded by Indian nationals inquiring of where we learned these from. A few said that they could faintly remember their grandfathers in India singing these in the evenings. Glance through a book on Indian classical music and you will find the various taals, Khemta, Dadra, Tilana, etc. Our foreparents may not have been able to read and write, but culture was a centerpiece of their existence in a strange land. they know their culture and treasured it.
@@lakhanram11 forgive me uncle🙏🏽, i only speak on what i know, like you said you have a degree, youre speaking to a young man, who had no one to learn from. With with the utmost respect uncle, please do not insult me for not knowing any better and instead provide a better explanation.
@ramkabharosa
0.(Ref) Ho ho ho ho... Kavan phulavā phūle māī ke;
ādhī ādhī ratiyā, ādhī ādhī ratiyā, aho sevakā. (both 2)
Kavan phulavā phūle Gaurā; hariyā aho sevakā. (2)
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1. Belī phūlavā phūle māī ke; (ĀĪŪṛāīū)
ādhī ādhī ratiyā, ādhī ādhī ratiyā, aho sevakā. (both 2)
Oṛha hul phulavā phūle Gaurā; hariyā aho sevakā. (2)
Jai jai Mā', jai jai Mā'; jai Mā', jai Mā', jai Mā'.
2 Kavan phūl ke māī, banāve liye sanavā;
banāve liye sanavā, banāve liye sanavā.
Kavan phulavā māiyā, dharelī sirā hanavā;
dharelī sirā hanavā, dharel sirā hanavā.
3. Kavan phulavā māiyā, dharelī sirā hanavā;
Belī phūl ke māī; banāve liyā sanavā;
banāve liyā sanavā, banāve liyā sanavā, aho sevakā.
Oṛho hul dharelī sirā hanavā, aho sevakā. (2)
4. Bhoṛe bhoṛe karelā, ke māī ke singaravā;
māī ke singaravā, māī ke singaravā.
Kavan phulavā sobhe lā, maiyā-jī ke gharavā;
maiyā-jī ke gharavā, maiyā-jī ke gharavā.
5. Bhoṛe bhoṛe karelā, ke māī ke singaravā.
Karelī kī mālin ke kamaiyā-jī ke singaravā;
maiyā-jī singaravā, maiyā-jī singaravā, aho sevakā.
Oṛho hul phulavā, sobhe māī ke gharvā, aho sevakā. (2)
Jai jai Mā', jai jai Mā'; jai Mā', jai Mā', jai Mā'.
6. Keī ho chaṛhāve māī ke, joṛā nāriyalavā;
joṛā nāriyalavā, ho joṛā nāriyalavā.
Ke-ī oṛhāve chunarī, lalle chata karāvā;
chunarī chata karāvā, ho chunarī chata karāvā.
7. Keī ho chaṛhāve māī ke, joṛā nāriyalavā;
Ke-ī oṛhāve chunarī, lalle chata karāvā.
Bā jin chaṛhāve bele, māī ke nāriyalavā;
māī ke nāriyalavā, ho māī ke nāriyalavā, aho sevakā.
Chunarī oṛhāve lā balakavā, aho sevakā. (2)
.
1. Jodhānā rī sair karādu vā banaṛī, karādu vā banaṛī.
Gairadāra ghāgharo gulābadāra mangadī. (ĀĪŪṛāīū)
Jodhānā rī sair karāo banasā, karāo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
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2. Jayapuriyā rī sair karādu vā banaṛī, karādu vā banaṛī.
Gairadāra ghāgharo gulābadāra mangadī.
Jayapur vālī sair to nī karāo banasā, karāo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
3. Pālī vālī sair karādu vā banaṛī, karādu vā bābū-jī.
Gairadāra ghāgharo gulābadāra mangadī.
Pālī vālī sair to nī karāo banasā, karāo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
4. Mhārore sage tū chālo vo banaṛī, the chālo vo banaṛī.
Gairadāra ghāgharo gulābadāra mangadī.
Bhīlavārī sair to nī karāo banasā, karāo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
5. Udaypur rī sair karādu vā banaṛī, karādu vā bābū-jī.
Gairadāra ghāgharo gulābadāra mangadī.
Udaypur rī sair to nī karāo banasā, karāo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
6. Bas mīla par me' to jāū' ye banaṛī, jāū' vo banaṛī.
Gairadāra ghāgharo gulābadāra mangadī.
Gopālā kī kaiset lā do vo banasā, lā do vo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
7. Mohitarāj jī gāve vo banaṛī, gāve vo banaṛī.
Gopālā rī kaiset lāve vo banaṛī.
Rākhī pūjā gāve vo banasā, gāve vo banasā.
Gairadāra ghāgharo gulābadāra mangachī. (2)
.