Krishna's Kitchen Kirtans
Krishna's Kitchen Kirtans
Cooking in Krishna’s Temples in the 1970s
Temple kitchens are sacred spaces. While we were often alone in our service to the Deities, each day brought times when many devotees would gather to work together—preparing breakfast, Sunday Feasts, or special festivals for the Vaishnava calendar.
These recordings are the very ones we would play in those kitchens, interspersed with tapes of Srila Prabhupada. Whether we were rolling out hundreds of chapatis or carefully filling and crimping samosas, these sounds helped us maintain our focus on the Holy Name throughout the service.
Dinanatha Sandhya Aarti 1975
March 1975 marked the second major ISKCON Mayapur Festival, where more than 800 devotees from around the world gathered to celebrate Gaura Purnima with Srila Prabhupada. Each year, the festival reflected the steady growth and remarkable progress of Srila Prabhupada’s expanding mission. Srila Prabhupada circumambulated Sri Sri Radha Madhava each day, ringing the temple bell driving the devotees into an ecstatic frenzy. Large parikrama parties would visit holy sites. By this time, the monumental entrance gate was nearly completed, devotees were housed in rooms along the perimeter wall, the massive prasadam hall, capable of serving 10,000 people daily, was fully operational, the goshala was established, and a bathing ghat was under construction at the very location where the TOVP now stands. This was also the first leg in the festival, the second was the Krishna Balarama Mandir installation in Vrindavan.
On the second evening of the festival, an unforgettable aarti led by Dinanatha Prabhu left a profound and lasting impression on many of us visiting from the West. The accompanying photographs of Srila Prabhupada, parikrama kirtans and the Mayapur Chandrodaya Mandir project beautifully capture the atmosphere and historic moments of that era.
In the kitchen, when we listened to this kirtan it would take us back to those ecstatic and supremely optimistic moments in Mayapur. This kirtan became the soundtrack for many Sunday feast preparation days.
Vrindavan Soundtrack: Sita Rama Mandir
By the time of the first major Mayapur–Vrindavan Festival in 1974, the Sita Rama Mandir had already been performing 24-hour kirtans for over sixty years. We stayed just across the street at Fogla Ashram, serenaded day and night by the sounds of peacocks, residents calling out “Jaya Radhe!”, and, of course, the melodious and enthusiastic kirtans flowing from the Sita Rama Mandir.
The temple’s kirtans ranged from simple and beautiful women’s gatherings, marked by gentle dholak rhythms, to more elaborate and outwardly expressive men’s kirtans featuring masterful dholak playing and a variety of sweet, devotional melodies. The location, just down the street toward the town of Vrindavan from the Krishna Balaram Mandir construction site, provided a constant soundtrack as we moved between Fogla Ashram and the temple.
In 1974, Fogla Ashram was central to all our activities. Each morning we gathered there for Srimad-Bhagavatam class and Guru Puja with Srila Prabhupada. When the Krishna Balaram Temple opened in 1975, most of us continued to stay at Fogla Ashram, though all of our activities shifted to the new temple compound. Even in 1976, Fogla remained home base for the majority of devotees.
That year, equipped with a better tape recorder than before, I was determined to capture the spirit of the Sita Rama Mandir’s kirtans. The open schedule on Rama Navami offered the perfect opportunity. Entering the compound, I offered my respects to the Sita Rama Deities and joined a group of six men deeply absorbed in kirtan. They greeted me warmly, then turned their full attention back to their chanting.
The result was a beautiful recording—one that captures not only their music, but the selfless devotion that sustained this sacred tradition for generations.
Visnujan Swami leads Udilo Aruna Bhajan Mayapur 1975
Mayapur Festival 1975. It was the second large ISKCON festival in Mayapur and one can hear the devotion and enthusiam as Visnujan Swami led bhajans. He sings Udilo Aruna by Bhaktivinode Thakur and seamlessly moves to Jiv Jago as the recording ends. Original 1975 recording by Gopati das, remastered by Uttamasloka das in 2024. Photos taken during the Mayapur Festival by Gopati das in 1975.
Mayapur Gurukula Kirtan Greeting Srila Prabhupada 1977
Every morning during the 1977 Mayapur Festival, the Mayapur gurukula students would perform kirtan for Srila Prabhupad as he arrived to greet Sri Sri Radha Madhava. This was a highlighted memory for so many of us who were there. This is also one of the kirtans we would listen to while preparing offerings for Sri Sri Kishora Kishori in the Chicago temple in Evanston.
This is the audio of the the video, recorded by Gopati das using a Nakamichi portable recording deck with a three mike system. The track was remastered by Uttamasloka das in 2024.
The photos are from the 1974 Mayapur festival and highlight Srila Prabhupada touring ISKCON's first F.A.T.E. exhibit on the temple grounds. Other photos are of the ISKCON parikrama party on Bhaktisiddhanta Marg, initiation ceremony and the Mayapur temple grounds with only one building and Srila Prabhupada's original hut.
Brahma Samhita at Guntur Pandal in South India 1976
This classic recording of the Brahma Samhita was from a Pandal in Guntur, South India in 1976. Led by Acyutananda das and Yasodananda das and accompanied by a small travelling team of brahmacaris which included Rksaraja das who made this recording. There was a kirtan after this beautiful recitation, but this part has inspired devotees for years. When Gopati das met Rksaraja in 1976, they exchanged recordings and this was one of his personal recordings. The photos are a mixture of Deity photos from Gopati das' travels to temples from 1974 through 1977.
Rksaraja Das -- Live in Vrindavan 1977
The soundtrack of temple kitchens during the 1970s were tapes of kirtans and lectures by Srila Prabhupad, his prominent disciples and popular Kirtaniyas. From the early to mid 1970s Golden Avatar Productions supplied most of the tapes. From the first big Mayapur Vrndavan festival in 1974 on, many of us brought tape recorders and began recording lectures and kirtans. Every year we were inspired to bring better tape recorders. As part of Uttamasloka's Chicago team in 1977, I traveled with an audiophile portable Nakamichi recording deck. It had a three microphone system, right, left and blend mics which I would set up with small tripods. During that festival in Mayapur, Srila Prabhupada's UHER deck stopped working for a day and I was asked to use this setup to record one of Srila Prabhupada's lectures for the tape ministry.
Rksaraja Prabhu was one of ISKCON's great early Kirtaniyas. In 1976, he had released a recording with Vishndatt and Dinantha recorded in Mombassa, Kenya which became an anthem among devotees that year. We met while staying at Fogla Asram in Vrndavan in 1976 and swapped many recordings. In 1977, he was beginning to do studio recordings, and with my traveling recording gear, decided to do a recording session during the festival. We recorded three kirtans, one with Tranakarta Das on mrdanga, the other with Duryodhana Guru Das on tabla. This is the third kirtan recorded, after Mani Bandha Das stepped into the room and picked up the mrdanga. The result was a down to earth and spontaneous kirtan with Srila Prabhupada on our minds and in our hearts.
Aroti and Evening Program Radha Govinda Mandir 1977
A Spiritual Journey Through Jaipur: Historic Kirtans and Sacred Moments
Toward the conclusion of the Mayapur Vrindavan Festival in April 1977, Uttamasloka Prabhu entrusted me with a special mission: traveling to Jaipur to commission large marble Gaura-Nitai Deities for the Chicago temple. This journey was not only a service but also a deeply transformative experience, blending devotion, music, and sacred offerings.
At the time, I was diligently recording kirtans and bhajans using a Nakamichi 550 portable audiophile cassette recorder, a state-of-the-art system with three condenser microphones. This unique setup allowed me to capture the full sonic richness of devotional gatherings, and in Jaipur, I had the rare opportunity to record the entire evening programat the historic Radha Govinda Mandir. Carefully positioning mic stands, I preserved the sounds of kirtan as they reverberated through the temple halls, an immersive experience that remains etched in my memory.
After the program, the temple brahmanas graciously led me to a secluded altar-side door, where they presented me with an extraordinary array of maha prasadam. Honoring that prasadam was not merely a meal—it was a profound spiritual experience, one that would influence my own cooking for years to come, imprinting flavors of devotion that extended beyond the palate and into the heart.
The Gaura-Nitai Deities were commissioned from the same murti-walla who had carved the Krishna-Balarama Mandir Deities—a connection that added further significance to this sacred endeavor. The entire visit to Jaipur was an experience of devotional fulfillment, a journey steeped in service, sound, and sacred food traditions.
This video brings that historic moment to life, beginning with stunning visual media courtesy of Stephen Knapp. It then transitions to rare archival photos of the original Radha Govinda Mandir in Vrindavan and evocative images of Srila Prabhupada’s visit to Jaipur in 1972. Contemporary temple imagery, beautifully captured by Ananta Vrindavan, follows, offering a timeless perspective on these sacred spaces.
The heart of the video unfolds with aroti, Tulsi Puja, and soul-stirring kirtans, including Hari Haraya Namah and more, echoing the bhakti traditions that have flourished for centuries.
For those who cherish historic kirtans, prasadam stories, and the deeper spiritual journey they inspire, visit Prasad.life to explore more.
Mayapur Parikrama Celebration at Srivasa Angan 1975
Acyutananda swami was the most influential kirtan leading disciple of Srila Prabhupada in ISKCON from 1973 to 1975. His tapes introducing his unique Indian-style bhajans and kirtans In the first two large Mayapur Festivals in 1974 and 1975, he led every parikrama. He was with Srila Prabhupada when he first returned from America and was almost single handedly responsible for introducing traditional Bengali-style kirtan to the western temples. We listened to his bhajans and kirtans extensively during those years.
Sacidananda Das Solo Bhajans Vrndavan 1977
Sacidananda das was a celebrated bhajan singer in 1970s ISKCON. He made studio recordings distributed all over the world, but what he was mostly known for were his bhajans performed as Krsna Balaram Mandinr in the holy land of Vrndavan, India.
Prabhas Das became a good friend of mine in 1975 during the Krsna Balaram temple installation. He was close to Anand Prabhu (Maharaj), Srila Prabhupada’s godbrother who assisted us in the Deity kitchen. Prabhas often translated. It was through Prabhas, that I came to meet another Bengali devotee Sacidananda Das. Before the 24 hour kirtans took hold, Sacidananda Prabhu would sing bhajans for many hours every day. For many of us, his sweet bhajans were the soundtrack of Vrndavan ISKCON. In March 1977, I brought a semi-professional Nakamichi recording deck with a 3 Mic system to India and recorded Sacidananda Prabhu singing solo bhajans as he did every day for the pleasure of their Lordships Sri Sri Krsna Balarama. This was early in 1977, the same year that Srila Prabhupada transitioned from this earthly plane. In his final days, Srila Prabhupada requested that Sacidananda Das sing bhajans.
These bhajans are presented simply and unadorned, without drums and karatals as they were sung this way most often in the temple, and in Srila Prabhupada’s quarters. Sacidananda das’ sweet devotional voice transports the listener to Vrndavan of the late 1970s.
Images of Sacidananda das singing are intertwined with photos of Vrndavan. In the latter part of the video, photos of Srila Prabhupada and his disciples during the 1975 Krsna Balaram Mandir installation are featured.
~Gopati das
Mayapur Gurukuli Kirtan Greeting Srila Prabhupada 1977
Every morning, the students of the Mayapur Chandrodaya Mandir Gurukula gathered faithfully by the Lotus Building entrance. Their mission was simple yet profound: to hold kirtan for the pleasure of Srila Prabhupada as he descended the grand stairway toward the temple.
This recording captures the "soundtrack" of that historic festival—the final one Srila Prabhupada personally attended. Beyond their daily morning devotion, these students also participated in the inaugural kirtan competition that year, the only one ever held, ultimately taking home the grand prize.
In March 1976, devotees attending the Mayapur-Vrindavan Festival were still staying at the Fogla Ashram, despite the Krishna Balaram Mandir having opened the year before. I have fond memories of meeting fellow brahmacaris in their rooms during that festival to share the latest recordings, copying them from each other’s tape decks. One of the devotees I connected with was Rksaraj das, who was already a renowned kirtan leader. This particular recording was one of his personal tapes made in Mombasa the previous year. The bhajans and kirtans these three godbrothers performed together and individually over the next several years would become influential all over the world.
That was also the year of the renowned Chicago kirtan tour. Uttamasloka organized a kirtan pilgrimage from Chicago to Detroit, Toronto, and finally Montreal, where we eventually joined hundreds of devotees on an Air India 747 to fly to India. Each stop was full of ecstatic kirtans. In Detroit, four Radha Damodara buses were stationed with Tamal Krishna Goswami, Dristadumnya Swami, Vishnujan Swami, Jayananda, and Lakshmi Narayan. Everyone was gathered in high anticipation of seeing Srila Prabhupada in Mayapur.
Divyanga, Jiva Goswami, and I happened to be in Detroit when the Chicago devotees—led by Uttamasloka, Sripati, and Vishnudatt—arrived. We had been considering staying in Detroit under the beautiful program overseen by Govardhana and Indrabarta, and Tamal Krishna was encouraging us to join the Radha Damodara Party. However, once the three of us met the Chicago devotees and experienced their kirtans in Radha Kunjabihari’s temple, we were in awe. We immediately joined the tour, heading to Toronto for even more ecstatic kirtans with Visvakarma and Bhakti Marg, alongside fabulous feasting orchestrated by Ayodhyapati das (BB Govinda Swami).
Next, we traveled to Montreal to see Sri Sri Radha Manohar and immerse ourselves in kirtans with Nandikesvara. Boarding the giant 747 with hundreds of devotees took our anticipation over the top; the pilot even had to ask us to settle down to ensure flight stability because of our enthusiastic kirtans and dancing in the aisles!
Upon arriving in Mayapur, the Chicago, Toronto, and Montreal devotees gathered with Rksaraj for a rousing kirtan to inaugurate the festival. It was a style I had never experienced before—we collectively felt as if we were being lifted off the ground. This was also the festival where Uttamasloka recorded the "Nocturnal Kirtan" tape and Akincina Krishna Das Babaji’s bhajans in a room near the Mayapur entry gate. Sharing recordings with Rksaraj at the Fogla Ashram was a natural follow up to all of this. The following year, we reconnected to record the famous "Vrindavan Sessions" at the Krishna Balaram Mandir.
Dinanath Das Sandya Aroti Mombassa 1975
Here is a curated blog post for Prasad.life, blending the nostalgia of the 1970s "tape-swap" culture with the deep spiritual focus of the kitchen service.
In the mid-1970s, the "sound" of the Krishna Consciousness movement wasn't found on polished studio albums or digital playlists. It was found on hissing cassette tapes, recorded on handheld devices in crowded temple rooms and shared like treasure.
In March 1976, while attending the Mayapur-Vrindavan Festival, many of us were still staying at the Fogla Ashram. Even though the Krishna Balaram Mandir had opened its doors the year before, the Ashram remained a hub of connection. I have such fond memories of meeting fellow brahmacaris in those simple rooms, huddled around portable tape decks. We were trying to expand our knowledge of the devotional arts. Along with Deity worship, dressmaking, Jhari, doll making and cooking, this included learning traditional kirtan arts and methods.
We would spend hours sharing the latest recordings, daisy-chaining our machines together to copy kirtans from one deck to another. It was there that I connected with Rksaraj das, already a renowned kirtan leader. He shared personal recordings with me—this one a tape recorded in Mombasa the prior year. In this recording, Rksaraj and Vishnudatt are likely participants in the kirtan, since it was a small temple at the time.
Among those cherished recordings was a Sandhya Arati led by Dinanath Prabhu. This wasn't just a performance; it was a rhythmic offering. Dinanath’s mastery of the traditional mrdanga tal (rhythm) progressions served as a beautiful accompaniment for the pleasure of the Deities.
Since Rksaraj made this recording and it was a small temple at the time, it is very likely tthat he was there along with Vishnu datt.
This recording, now remastered in 2024 by Uttamasloka das ACBSP, captures the raw, unfiltered enthusiasm of that era. Whether you hear the echoes of the new Mombasa temple or see the images of Dinanath from the Krishna Balaram Mandir opening, you are transported back to a time when every beat of the drum was an act of spiritual revolution.
Temple kitchens are sacred spaces, the "engine room" of the mission. While much of our service was done in quiet focus, preparing the Sunday Feast or breakfast for the Deities often brought us together in large groups.
These recordings—these "Kitchen Kirtans"—were our constant companions. We would play these tapes, interspersed with Srila Prabhupada’s bhajans and lectures, to stay grounded in the Holy Name. Whether we were rolling hundreds of chapatis or crimping the edges of samosas, the transcendental vibration of brothers like Rksaraj, Dinanath, and Vishnudatt kept our consciousness fixed on Krishna.
We are honored to share these remastered soundtracks of devotion. They are more than just historical artifacts; they are the heartbeats of a generation that left everything to serve Srila Prabhupada.
~ Gopati das ACBSP
In the history of ISKCON’s early years, few names evoke as much spiritual nostalgia as Vishnujan Swami. By 1975, his Radha Damodara bus program had become a phenomenon, traveling from city to city and village to village, leaving a trail of ecstatic kirtans in its wake.
Vishnujan Swami was more than just a talented musician; he was a charismatic leader whose kirtans were famous across the entire movement. His voice was a direct reflection of his love for Srila Prabhupada. There was a particular sweetness—a vulnerability and strength combined—that made his singing unforgettable.
This rare recording, captured during the 1975 Mayapur Festival, features him leading Jaya Radha Madhava. For those who served in the temple kitchens during this era, these were the sounds that filled our hallways and sanctified our service.
What makes this specific recording a treasure for any student of kirtan is Vishnujan Swami's unique mastery of the mrdanga. While most players stick to standard beats, he had a "finger-style" approach that was entirely his own.
As you listen, notice the complexity of the percussion. He used his fingers, palms, and even his knuckles on both sides of the drum to create a delicate yet driving accompaniment. It provided a rhythmic "cradle" for the holy names, showing that every part of his body was engaged in the act of glorification.
At Prasad.life, we believe that the consciousness of the cook is the most important ingredient. In the 70s, we didn't have digital streaming; we had these precious tapes. Playing a recording like this in the kitchen changed the atmosphere entirely. It turned the act of chopping vegetables or stirring a massive pot of dal into a meditative dance.
We invite you to listen to this piece of history and let the melodies of Vishnujan's Radha Damodara fill your home and kitchen today.
~ Gopati das ACBSP
Live in Mombassa 1975
Before the era of digital downloads, the pulse of the kirtan movement was kept alive through the "tape-swap." In the mid-1970s, a new cassette was more than just music; it was a spiritual event.
During the 1976 Mayapur-Vrindavan Festival, the Fogla Ashram served as an unofficial headquarters for brahmacaris to trade the latest recordings. It was a culture of sharing—daisy-chaining tape decks together to capture a copy of a copy.
I remember connecting with Rksaraj das there. He was already a reknowned kirtan leader, and he had with him the original recording made in Mombasa the previous year with good sound quality compared to the usual fuzziness associated with consumer cassette tapes.
In early 1976, when Vishnudatt brought a copy of this tape to Chicago, it spread like wildfire. We simply couldn’t get enough of it. Up until that point, our listening was mostly limited to formal studio albums.
The "Mombasa Tape" was different. It featured Rksaraj on vocals, Vishnudatt on mrdanga, and Dinanath on tamboura. It wasn't a studio production; it was a vibrant, traditional kirtan that felt alive. It was put together with a level of musical and devotional synergy that we hadn't experienced on tape before.
For those of us serving in the kitchens, these recordings were the "soundtrack of our lives." The rhythmic drive of Vishnudatt’s mrdanga and the soulful resonance of Rksaraj’s voice provided the perfect atmosphere for preparing thousands of offerings.
At Prasad.life, we are dedicated to preserving these "Kitchen Kirtans." They remind us of a time when the mission was young, the energy was raw, and the Holy Name was being carried across the globe on plastic cassettes.
~ Gopati das ACBSP
In the spring of 1977, the air in West Bengal was thick with more than just the approaching heat of summer. At the ISKCON Mayapur Chandrodaya Mandir, a historic gathering was taking place. It was the annual Mayapur festival, but this year featured a unique event: the first (and only) official Kirtan Competition in ISKCON’s history.
Traditional Hari Nam groups from the neighboring towns of Bengal traveled to Mayapur to the Hare Krishna Mantra on stage, bringing with them a raw, ancestral style of devotion. Among the sea of devotees from around the world—including a vibrant group from Chicago led by Uttamasloka das—was a quiet effort to preserve these fleeting moments of transcendence.
While the main stage drew the crowds, the heart of the festival pulsed throughout the complex. In one of the small ashram rooms of the then-new "Long Building," a session was captured that would sit in the archives for nearly half a century.
I was armed with a Nakamichi 550 portable tape deck and a sophisticated three-condenser microphone system, recorded the Sridharas Kirtan Group singing the beloved bhajan, Nitai Pada Kamala.
The Nakamichi 550 was a quality piece of gear, often used by field recordists for its incredible fidelity. Because of that effort to carry around a twelve pound recorder along with microphones and mic stands, and a meticulous 2024 remaster by Uttamasloka das (ACBSP), we can now hear this kirtan with a clarity that transports us back to that room in 1977. I recorded most of the kirtans but was not able to record the Chicago kirtan because I was in the group on stage. In many ways, the Nakamichi was equivilant to Srila Prabhupada's UHER deck, so, when they experienced techinal issues, I was also asked to fill in and record Srila Prabhupada's lecture in Mayapur.
~ Gopati das ACBSP
Written by the great acharya Narottama Dasa Thakura, this song is a foundational meditation on the mercy of Lord Nityananda. As Srila Prabhupada often taught, one cannot approach the "dancing party" of Radha-Krsna without first seeking the shade of Nitai’s lotus feet.
Lyrics & Translation
Verse 1
nitāi-pada-kamala, koṭi-candra-suśītala
je chāyāy jagata jurāy
heno nitāi bine bhāi, rādhā-kṛṣṇa pāite nāi
dṛḍha kori’ dharo nitāir pāy
Translation: The lotus feet of Lord Nityananda are a shelter where one will get the soothing moonlight not only of one, but of millions of moons. If the world wants to have real peace, it should take shelter of Lord Nityananda. Unless one takes shelter under the shade of the lotus feet of Lord Nityananda, it will be very difficult for him to approach Radha-Krsna.
Verse 2
se sambandha nāhi jā’r, bṛthā janma gelo tā’r
sei paśu boro durācār
nitāi nā bolilo mukhe, majilo saṁsāra-sukhe
vidyā-kule ki koribe tār
Translation: Anyone who has not established his relationship with Nityananda Prabhu has spoiled his valuable human birth. Such a human being is actually an uncontrollable animal. Because he never uttered the holy name of Nityananda, he has become merged into so-called material happiness. What can his useless education and family tradition do to help him?
Verse 3
ahaṅkāre matta hoiyā, nitāi-pada pāsariyā
asatyere satya kori māni
nitāiyer koruṇā habe, braje rādhā-kṛṣṇa pābe
dharo nitāi-caraṇa du’khāni
Translation: Being maddened after false prestige and identification with the body, one thinks, "What is Nityananda? What can He do for me?" The result is that he accepts something false to be truth. If you actually want to approach the association of Radha-Krsna, you must first achieve the mercy of Lord Nityananda.
Verse 4
nitāiyer caraṇa satya, tāhāra sevaka nitya
nitāi-pada sadā koro āśa
narottama boro dukhī, nitāi more koro sukhī
rākho rāṅgā-caraṇera pāśa
Translation: The lotus feet of Nityananda are not illusion; they are a fact. One who engages in the transcendental loving service of Nityananda is also transcendental. Always try to catch the lotus feet of Lord Nityananda. Narottama dasa prays: "My dear Lord, please keep me close to Your lotus feet."
In his purport to this song, His Divine Grace A.C. Bhaktivedanta Swami Prabhupada explains:
"In this material world (jagat), which is progressing toward hell, there is always a blazing fire, and everyone is struggling hard without finding peace; therefore, if the world wants to have real peace, it should take shelter of Lord Nityananda."
We invite you to listen to this remastered recording—not just as a piece of history, but as a meditation. Let the sounds of 1977 Mayapur bring you the "soothing moonlight of millions of moons."
The 1977 Mayapur festival was a time of immense spiritual gravity. While thousands of devotees gathered for the historic first and only Kirtan Competition, some profound moments happened away from the stage and in the privacy of vaishnava quarters where there was no expectations of performance.
This post explores a rare, intimate recording of Lalasamayi Prarthana, captured by Gopati das (ACBSP) and recently remastered in 2024 by Uttamasloka das (ACBSP).
There is a specific sweetness to the songs of Narottama Dasa Thakura. Srila Prabhupada often compared them to a fully ripened, juicy mango—overflowing with depth and spiritual nectar. Among these, Lalasamayi Prarthana stands out as a prayer of intense longing, a roadmap for the soul’s journey from material desire to the spiritual groves of Vrindavan.
In 1977, in a small ashram room within the "Long Building" at the Mayapur Chandrodaya Mandir, the Sridharas Bhajan Group sat down to sing. Outside, the Mayapur Gour Purnim Festival was in full swing, but inside this room, the atmosphere was thick with a different kind of intensity.
This session was recorded using a Nakamichi 550—an audiophile portable cassette deck—paired with a three high-end ondenser microphones. The result is a field recording of startling clarity. After being meticulously remastered in 2024 by Uttamasloka das, this 49-year-old moment of devotion sounds as fresh as if it were recorded yesterday.
Verse 1
‘gaurāṅga’ bolite ha’be pulaka-śarīra
‘hari hari’ bolite nayane ba’be nīra
Translation: When will that opportune moment come to us when there will be shivering of the body as soon as we chant Lord Gauranga's name? And after the shivering, while chanting Hare Kṛṣṇa, there will be tears in the eyes.
Verse 2
āra kabe nitāi-cānder koruṇā hoibe
saṁsāra-bāsanā mora kabe tuccha ha’be
Translation: When will I receive the mercy of Lord Nityananda-candra? When will my desires for material enjoyment become very insignificant?
Verse 3
viṣaya chāḍiyā kabe śuddha ha’be mana
kabe hāma herabo śrī-bṛndābana
Translation: When will my mind be freed from all material anxieties and desires? When will I be able to understand Vrindavan and the conjugal love of Radha and Krsna?
Verse 4
rūpa-raghunātha-pade hoibe ākuti
kabe hāma bujhabo se jugala-pirīti
Translation: When shall I be very much eager to study the books left by the six Gosvamis? One has to learn of the conjugal loving affairs of Radha-Krsna through the teachings of the six Gosvamis.
Verse 5
rūpa-raghunātha-pade rahu mora āśa
prārthanā koroye sadā narottama-dāsa
Translation: Narottama dasa always prays, "Let my only hope be in the lotus feet of the six Gosvamis, headed by Srila Rupa Gosvami and Srila Raghunatha dasa Gosvami."
By His Divine Grace A. C. Bhaktivedanta Swami Prabhupada
"This song was sung by Narottama dasa Thakura, a great devotee and acarya in the Gaudiya Vaisnava-sampradaya... He has sung these songs in simple Bengali language, but the purport—the deep meaning of his songs—is very significant.
In this song he says, ‘gaurāṅga’ bolite ha’be pulaka śarīra. One has attained the perfection of chanting when as soon as he chants the name of Lord Gauranga, who initiated this sankirtan movement, at once there is shivering in his body. This is not to be imitated, but Narottama dasa Thakura is asking 'When will that opportune moment come to us?'
Then he says, āra kabe nitāi-cānder koruṇā hoibe. We are all asking about the mercy of Lord Nityananda. Nityananda is supposed to be the original spiritual master, so we have to approach Gauranga, Lord Caitanya, through the mercy of Lord Nityananda.
What is the symptom of a person who has achieved the causeless mercy of Lord Nityananda? Narottama dasa Thakura says that the symptom is that he has no more material desire... saṁsāra-bāsanā mora kabe tuccha ha’be.
Narottama dasa says further, rūpa-raghunātha-pade hoibe ākuti: 'When shall I be very much eager to study the books left by the six Gosvamis?' Akuti means 'eagerness.' One has to learn of the conjugal loving affairs of Radha-Krsna through the teachings of the six Gosvamis.
As long as the mind is too much absorbed in materialistic thought, one cannot enter into the kingdom of Vrndavan. But Narottama dasa Thakura says... when the mind is completely purified, being freed from material anxieties and desires, then I shall be able to understand Vrndavana and the conjugal love of Radha & Krsna, and then my spiritual life will be successful."
This isn't just a song; it's a historical artifact of the Mayapur Festival of 1977. By listening to the voices of the Sridharas Bhajan Group, we are transported to a time of foundational spiritual growth.,