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.  

Live at the Gate -- Dinanath Leading Kirtan to Greet Srila Prabhupada in Mayapur 1975

The ISKCON Mayapur Festival is universally recognized for the annual gathering of Gaudiya Vaishnavas celebrating the birth of Lord Chaitanya.  With devotees from all over the world attending, the soaring, ecstatic kirtans echoed throughout the Holy Dhama. The 1975 gathering was the second large festival for Srila Prabhupada's disciples and holds a profoundly sacred space in the hearts of all those who attended. On March 23, 1975, the atmosphere at the main gates was charged with anticipation. Hundreds of international devotees had gathered from across the globe, eagerly awaiting the arrival of their beloved spiritual master, His Divine Grace A.C. Bhaktivedanta Swami Prabhupada. Everything seemed new and improved.  The gate was new and nearing completion with some bamboo scaffolding, the rooms along the wall were built and the road to the new prasadam hall was under construction.  Even a ghat was being excavated on the site that ended up being where the TOVP was built. 

Just in front of the grand arch of the gate Dinanath dasa (ACBSP) led a roaring kirtan that would set the spiritual tone for the entire festival.

A Historic Welcome

When Srila Prabhupada's car came up the road and arrived at the gates of the Mayapur Chandrodaya Mandir, he was met with a tidal wave of enthusiastic devotion. With a mridanga strapped over his shoulder, Dinanath dasa drove the rhythm of the Holy Name, anchoring a kirtan that was simultaneously sweet, intense, and deeply moving.

Dinanath dasa completely absorbed in the seva, intensly playing the mridanga, his face focused entirely on the transcendental sound vibration. Beside him, fellow devotees can be heard leaning in, answering the call and response of the Maha-Mantra with open hearts and raised voices.

The Mercy of Bhaktivinoda Thakura

Upon his arrival, Srila Prabhupada was deeply touched by the sight of so many Western and Eastern Vaisnavas chanting harmoniously in the land of Lord Chaitanya's birth. Later that very day, during an intimate arrival talk in his room, Srila Prabhupada reflected on the deeper significance of the gathering, providing a beautiful glimpse into his humility and appreciation for his spiritual predecessors:

"Yes. I am simply messenger. Mercy is of Bhaktivinoda Thakura and Srila Prabhupada [Bhaktisiddhanta Sarasvati]. Before your coming they predicted, that 'Somebody will bring.' Maybe that somebody I am. Bhaktivinoda Thakura predicted. So anyway, Krsna has given us a nice place."

~Srila Prabhupada, Room Arrival Talk, Māyāpur, March 23, 1975

The ecstatic kirtan led by Dinanath dasa at the gate was the physical manifestation of that prediction. Decades prior, Srila Bhaktivinoda Thakura had envisioned a day when Europeans, Americans, and Indians would dance together in Mayapur, chanting “Jai Sacinandana!”

Legacy of Pure Devotion

The 1975 Mayapur Festival went on to be a inspired success, featuring deep philosophical discourses, cross-cultural exchanges, and grand feast distributions. The stage was set for the grand opening celebration of Krsna Balaram Mandir in Vrindavan in the coming weeks.  

To fully immerse yourself in the sights, sounds, and profound devotion of this historical gathering, you can watch these archival videos: 

[Srila Prabhupada in Mayapur 1975](https://www.youtube.com/watch?v=WRHq4U32G9Q). 

 [Kirtan at the Gate] https://www.facebook.com/share/v/1FDmjgvMnz/

This video features real chronological footage captured during that unforgettable festival, bringing the electric spirit of the gate kirtan and Srila Prabhupada's presence back to life.

Recorded live in 1975 by Gopati dasa (ACBP)

Dive deeper:  https://www.prasad.life/kitchen-kirtans/dinanath-leading-sandhya-aroti-mayapur-1975

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.

The Soundtrack of the Temple Kitchen: A Spontaneous Afternoon in Vrindavan, 1977

In the 1970s, if you walked into any ISKCON temple kitchen, you were greeted by two things: the aroma of ghee and spices, and the constant, rhythmic sound of kirtan and lectures playing from cassette decks.

Those tapes were our lifeblood. In the early days, Golden Avatar Productions supplied the majority of our listening material. But after the first great Mayapur-Vrindavan festival in 1974, a shift happened. Many of us started bringing our own tape recorders, driven by a desire to capture the "nectar" firsthand. Each year, we returned with better gear, pushing the boundaries of how we could preserve these transcendental moments.

The Gear

By 1977, I was traveling as part of Uttamasloka’s Chicago team, and I had upgraded to a powerhouse: the Nakamichi 550. It was a portable audiophile’s dream, featuring a unique three-microphone system (right, left, and a center blend). I would set them up on small tripods to catch the full spatial resonance of the room.

The setup was so reliable that during the festival in Mayapur, when Srila Prabhupada’s own UHER deck failed for a day, I was asked to step in to record his lecture. Using this Nakamichi, I recorded one of his lectures for the official tape ministry.

Rksaraja Prabhu: A Voice of an Era

Among the devotees, Rksaraja Prabhu was a legend. In 1976, his recording from Mombasa, Kenya, had become a staple in every devotee's tape collection—a true anthem of the time. We had met a year prior at the Fogla Ashram in Vrindavan and spent hours swapping recordings and talking shop.

By the 1977 festival, Rksaraja was beginning to move toward studio work. Seeing my portable recording setup, we decided to capture something spontaneous right there at the Krishna Balaram Temple.

The Session: April 1977

We tucked ourselves into a first-floor side room of the temple. The atmosphere was intimate and unforced. We had already recorded two tracks—one with Tranakarta Das and another with Duryodhana Guru Dasa.

Then, Mani Bandha Dasa walked into the room. He didn't say much; he just picked up the mrdanga and started to play. That was the magic of those days—the spontaneity of devotion.

"The result was a down-to-earth and spontaneous kirtan with Srila Prabhupada on our minds and in our hearts."

Listen to the Archival Audio

This recording isn't just music; it’s a time capsule. Thanks to the Nakamichi’s three-mic system, you can hear the "room sound" of the temple—the sharp crack of the kartals, the warm resonance of the harmonium, and the raw, heartfelt vocals of a young Rksaraja Dasa.

Preserving the Legacy

The pictures accompanying this recording—of Srila Prabhupada and the beautiful Radha Krishna Deities—come from my personal 1970s archives. They serve as a visual window into a time when we were young, the movement was growing, and every kirtan felt like it could change the world.

~Gopati Dasa (ACBSP)

The Recording:

Lead Vocals & Harmonium: Rksaraja Dasa

Mrdanga: Mani Banda Dasa

Kartals: Duryodhana Guru Dasa & Tranakarta Dasa

Audio Recording & Photography: Gopati Dasa (ACBSP)

Visuals: Archival pictures of Srila Prabhupada and the Radha Krishna Deities from the collection of Gopati Dasa.

2024 Remaster:  Uttamasloka dasa (ACBSP)

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.

Rksaraj, Vishnudatt and Dinanatha

The Ecstatic Kirtans of 1975-76

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.

The Soundtrack of Service: Tape Decks, Fogla Ashram, and Kitchen Kirtans

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.

The Fogla Ashram Tape-Swap

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.  

Dinanath Prabhu: A Snapshot of 1975 Mombasa

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.

Why "Kitchen Kirtans"?

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.

Listen to the Legacy

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

The Melodies of Radha Damodara: 

Vishnujan Swami’s 1975 Jaya Radha Madhava

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.

A Voice That Touched the Soul

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.

The Artistry of the Mrdanga

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.

Bringing the Festival into the Kitchen

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

The Tape That Changed Everything: Mombasa 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.

The Breakthrough at Fogla Ashram

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.  

A New Standard for Traditional Kirtan

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.

Fueling the Kitchen Service

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

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).

A Sweet Mango of Devotion: The 1977 Mayapur Recording of Lalasamayi Prarthana

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.

The Story Behind the Tape

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.

Lalasamayi Prarthana: Lyrics and Translation

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."

The Enlightening Purport

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."

Why This Recording Matters

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.,  

Tulasi Puja of Jaipur: A 1976 Discovery Story

In 1976, a rare and powerful recording was captured at the historic Radha Govindaji temple in Jaipur. In a recent conversation, devotees Uttamasloka dasa and Gopati Das shared the story of how this high-energy Tulasi Puja was recorded and how it eventually spread across the globe to Montreal, Toronto, and England.

Tracking Down the Sound of Jaipur

The recording was born out of a mission to visit Deity carvers. Guided by his God-sister Mekala, who lived in Jaipur, Uttamasloka dasa found himself immersed in the city's intense morning devotion.

"It's amazing, going to Mangal arotik, the whole city, everybody's just all going to this one place at four in the morning, boom, to the temple and big Mangal arotik." — Uttamasloka dasa

Later that evening, the Tulasi Puja recording took place, facilitated by Mekala's local knowledge of "when to go and where to go".

"Blow This Western Guy's Mind"

When the recording began, Uttamasloka was standing in the very center of a seasoned kirtan group. He was positioned directly next to a lead singer who had performed that specific puja every night for 40 years.

"I remember there was one guy with a dolak and there was a Bengali guy, a Bengali Vaishnava with a khol. And he was excited to be looking at me. They were all looking at me because that was like they were performing for me because I'm the white elephant, right? Sure, with the dodi and the sika. So, okay, let's blow this western guy's mind. So they did. But I was right there in the middle, right next to the guy who sang it every night for like 40 years." — Uttamasloka dasa

The proximity to the drummers created a visceral, intense audio experience. Uttamasloka recalls, "I was very close to him. And the center was where all the drummers were and everything. So that's why it was so intense, because I'm standing now, all these drums hammering away".

From Jaipur to the West

The master tape of this session did not stay in India. It was carried to the West, where it influenced the Tulasi Puja standards of several major temples:

• Chicago: This style of Tulasi Puja modeled after Radha Govinda Temple Tulasi Puja worship was first intrduced to ISKCON Chicago in 1976 by Uttamasloka Das.  For a remastered version of a Chicago Tulasi Puja click on this link: https://soundcloud.com/uttamasloka-dasa/tulasi-puja-chicago-1977?si=cc771f81572d4711a06b3716d071b231&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

• England: Sripati took the tape to England and "taught everybody there so it spread around well".

• Montreal: Nandikesvara, a musician, brought the Jaipur style to Montreal. Gopati Das recalls, "that was how Nandikesvara offered Tulasi Puja" while running the temple restaurant there.

• Toronto: Visvakarama adopted the style for use in Toronto.

Dovetailing Natural Talent

The adoption of this "incredible stuff" was made possible by devotees who were willing to embrace deep musical traditions. Uttamasloka noted that many musicians refused to "stifle" their artistic nature, enriching the movement’s experience.

Gopati Das reflected on how this follows the tradition of great teachers:

"Reading about the stories about Lord Chaitanya and Bhaktisiddhanta Saraswati and Narottam Das Thakur, along with Srila Prabhupada, of how they chose specific people with musical and devotional talents to lead kirtans... Natural talent and abilities, when the opportunity arises, can be dovetailed wonderfully in Krishna's service and appreciated. It is for His pleasure and we reap the benefits." — Gopati Das

Originally recorded 1976 and remastered in 2024 by Uttamasloka Das (ACBSP)

Full Transcript of Discussion: 

Uttamasloka dasa

I had to go to Jaipur to do some arrangements for deities, because that's where all the deities were made. And Mekala, one of our God sisters, was living in Jaipur at the time, so she knew everybody and everything. And so I went there near the end of the Vrindavan festival in 1976 with her. So she took me to Radha Govindaji's for mangal arotik. It's amazing, going to Mangal arotik, the whole city, everybody's just all going to this one place at four in the morning, boom, to the temple and big Mangal arotik. 

I then went later that evening, and that's when the Tulsi puja was recorded. So it was because Mekala knew when everything was happening and when to go and where to go. So that's how I ended up recording it.

When we got there, it was already happening. So there was no, before and after, there was no talking. I mean, I didn't speak their language anyway. And I remember there was one guy with a dolak and there was a Bengali guy, a Bengali Vaishnava with a khol. And he was excited to be looking at me. They were all looking at me because that was like they were performing for me because I'm the white elephant, right? Sure, with the dodi and the sika. So, okay, let's blow this western guy's mind. So they did. But I was right there in the middle, right next to the guy who sang it every night for like 40 years. That's what I came to learn after. I was very close to him. And the center was where all the drummers were and everything. So that's why it was so intense, because I'm standing now, all these drums hammering away.

Sripati took that tape to England. He taught everybody there so it spread around well. Nandikesvara, who was also a musician, brought it to Montreal.  Visvakarama did it in Toronto too. 

Gopati Das

And I remember when I lived in Montreal, running the restaurant there, that was how Nandikesvara offered Tulasi Puja.  Of course, he was part of our inner circle,  Sripati and Visvakarma were too. Everybody in that circle seemed to have adopted it.

Uttamasloka dasa

That's the beauty. All these musicians, they're not going to stifle that part of their being because look at how enriched our experience was because we allowed ourselves to partake of all this incredible stuff, which many other devotees would have thought was questionable just because they didn't know.

Gopati Das

Reading about the stories about Lord Chaitanya and Bhaktisiddhanta Saraswati and Narottam Das Thakur, along with  Srila Prabhupada, of how they chose specific people with musical and devotional talents to lead kirtans. And so many of the things that happened in ISKCON, so many of the wonderful things happened because of these were inherent talents that devotees brought with them and subsequently manifested as beautiful kirtans, cooking, Deity dressing, theater, etc, in the temples. The devotional arts are an important part of our movement. 

Natural talent and abilities, when the opportunity arises, can be dovetailed wonderfully in Krishna's service and appreciated. It is for His pleasure and we reap the benefits.  

Related Links:

1977 High fidelity full Radha Govinda Mandir Evening program. 

Recorded by Gopati das (ACBSP) https://youtu.be/nsH4XethcuA

1977 Chicago Tulasi Puja originally recorded by Gopati das (ACBSP)

https://soundcloud.com/uttamasloka-dasa/tulasi-puja-chicago-1977

Rksaraj Solo Bhajans: Devotional Sessions Mombasa 1975 

Experience the raw, meditative, and profoundly soulful sounds of Rksaraj dasa in this rare archival recording from Mombasa, 1975.

Following the mood of pure devotion established by Srila Prabhupada, Rksaraj was a dedicated devotee musician who viewed the chanting of bhajans as a daily spiritual necessity. These solo sessions served as the foundational inspiration for many of the most iconic and professional devotee recordings that emerged during the 1970s.

Much like Srila Prabhupada’s own daily bhajan performances, this recording is not a staged production but a personal expression of Bhakti. It captures the essence of a devotee absorbed in the Holy Name, offering a glimpse into the heart of early ISKCON devotional life.

Visual Journey

The accompanying imagery features:

1. Srila Prabhupada (The Founder-Acharya of ISKCON) In his room in Vrindavan

Photo taken in 1974 by Gopati dasa (ACBSP)

Beautiful festival darshans of:

2. Sri Sri Gaura Nitai

3. Sri Sri Krishna Balaram

4. Sri Sri Radha Syamasundara

Courtesy of the historic Krishna Balaram Mandir in Vrindavan, India.

Please donate: https://iskconvrindavan.com/donate

Highlights

• Authentic 1970s Mood: The distinct sound and vibration of the early Hare Krishna movement.

• Meditative Simplicity: Rksaraj's signature style that focused on the potency of the lyrics and the purity of the heart.

• Historical Significance: A rare look at the musical roots that influenced generations of kirtaniyas.

The History Behind the Recording

In March 1976, devotees attending the Mayapur-Vrindavan Festival were still staying at the Fogla Ashram, even though the Krishna Balaram Mandir had opened the previous year. It was a time of deep connection; brahmacaris would meet in each other’s rooms to share and copy the latest recordings from tape deck to tape deck. We were learning devotional arts.  

It was during this festival that I connected with Rksaraj das, a renowned kirtan leader. This was one of his personal recordings from Mombasa in 1975. The bhajans and kirtans performed by these three godbrothers, Rksaraj dasa, Dinanath dasa and Visnu Datt dasa, during this time in Mombassa became influential to devotees all over the world.

~Gopati dasa (ACBSP)

Recorded in 1975 by Rksaraj dasa (ACBSP) 

From the audio archive of Gopati dasa (ACBSP)

Srita Kamala Chicago Bhajan Class 1976

Life at the Chicago temple was widely regarded by devotees as a unique and pinnacle experience within ISKCON during the 1970s. Unlike the "us and them" hierarchical mentality reported in some other locations, the Chicago temple operated as a large, cohesive family. Devotees felt a sense of camaraderie and abundance, as their lives were fully integrated with spiritual practice. Leaders focused on ensuring devotees were well cared for, emphasizing that spiritual life thrived when mundane needs, such as high-quality prasadam and organized management, were consistently met.

The Temple Program

The temple program in Chicago was intentionally designed to keep devotees surcharged and enlivened through a variety of spiritual activities.

Constant Kirtan: Kirtans were a cornerstone of daily life, occurring multiple times every day and night. Devotees described the morning Mangal arati as a necessary "blast" to start the day, with the evening Sundara-arati serving as a "kirtan sandwich" that devotees eagerly anticipated after a day of service.

Focus on Quality: Management prioritized first-class deity worship and prasadam, ensuring that even simple preparations like dal were exceptional.

Balance of Service: While the temple was highly successful in book distribution—often outperforming others—this austerity was counterbalanced by the "higher taste" found in the temple's music and food.

Bhajan Classes

To further enrich the spiritual culture, Uttamasloka held bhajan classes three nights a week. These sessions were described as a "Bengali hootenanny" where devotees gathered to sit and sing together.

Teaching Melodies: The classes allowed devotees to learn the complex melodies and lyrics of the songbooks, which many otherwise found difficult to master on their own.

Collaborative Spirit: During these classes, Uttamasloka would lead the singing while Vishnudatta, noted for his exceptional talent, played the mridanga.

Community Building: These informal sessions were a vital part of the "family" experience, offering a variegated and joyful alternative to more austere practices and helping devotees feel more personally connected to the culture.

Why Chicago Stood Out

Chicago became the recognized center for a more refined, musical, and Bengali-influenced style of kirtan in ISKCON.

Accessibility: Unlike L.A. or New York, where kirtan leading was restricted by a list, Chicago had no such barriers, allowing the style to develop organically through daily practice.

Inclusive Orchestration: Kirtans were treated as collaborative productions similar to an orchestra; every devotee had a specific role and instrument, such as gongs or various sizes of kartals.

Atmosphere of Ecstasy: Visitors often compared the intensity of the Chicago kirtans to a "nuclear reactor". This reputation was bolstered when Srila Prabhupada reportedly observed a recording of the Chicago group and remarked, "Just see, this is ecstasy. This is real ecstasy".

"Srita Kamala" (Gita Govinda Ashtapadi 1)  is a famous hymn by the 12th-century poet Jayadeva Goswami. It celebrates the glories of Lord Vishnu (Krishna), specifically his ten incarnations (Dashavatara) and his role as the beloved of Lakshmi (Kamala).

Below are the lyrics and their English translation.

Srita Kamala Kuca Mandala

1. Srita-kamalā-kuca-maṇḍala dhṛta-kuṇḍala e

Kalita-lalita-vana-māla jaya jaya deva hare

Translation: You who rest on the bosom of Kamala (Lakshmi), adorned with swinging earrings and wearing a beautiful garland of forest flowers. Victory, victory to You, O Lord Hari!

2. Dinamaṇi-maṇḍala-maṇḍana bhava-khaṇḍana e

Munijana-mānasa-haṁsa jaya jaya deva hare

Translation: You are the ornament of the sun’s orb and the destroyer of the cycle of birth and death. You are the swan that swims in the minds of the sages. Victory to You, Lord Hari!

3. Kāliyaviṣadhara-gañjana janarañjana e

Yadu-kula-nalina-dineśa jaya jaya deva hare

Translation: You are the subduer of the venomous Kaliya serpent and the source of joy for all people. You are the sun that blooms the lotus of the Yadu dynasty. Victory to You, Lord Hari!

4. Madhu-mura-naraka-vināśana garuḍāsana e

Sura-kula-keli-nidāna jaya jaya deva hare

Translation: You are the slayer of the demons Madhu, Mura, and Naraka, and You ride upon the mighty Garuda. You are the cause of the divine play of the demigods. Victory to You, Lord Hari!

5. Amala-kamala-dala-locana bhava-mocana e

Tribhuvana-bhuvana-nidhāna jaya jaya deva hare

Translation: Your eyes are like the petals of a spotless lotus, and You deliver us from material existence. You are the treasure of the three worlds. Victory to You, Lord Hari!

6. Janaka-sutā-kṛta-bhūṣaṇa jita-dūṣaṇa e

Samara-śamita-daśakaṇṭha jaya jaya deva hare

Translation: You were adorned by Janaka’s daughter (Sita), You defeated the demon Dushana, and You quelled the ten-headed Ravana in battle. Victory to You, Lord Hari!

7. Abhinava-jaladhara-sundara dhṛta-mandara e

Śrī-mukha-candra-cakora jaya jaya deva hare

Translation: You are as beautiful as a fresh rain cloud, and You held up Mount Mandara. You are the Cakora bird that drinks the nectar of Radha’s moon-like face. Victory to You, Lord Hari!

8. Tava caraṇe praṇatā vayam iti bhāvaya e

Kuru kuśalaṁ praṇateṣu jaya jaya deva hare

Translation: We bow down at Your lotus feet; please consider this. Grant auspiciousness and well-being to those who surrender to You. Victory to You, Lord Hari!

9. Śrī-jayadeva-kever idaṁ kurute mudam e

Maṅgalam ujjvala-gītaṁ jaya jaya deva hare

Translation: This auspicious and brilliant song composed by Jayadeva brings great delight. Victory, victory to You, O Lord Hari!

Context in the Gita Govinda

The Gita Govinda is divided into twelve chapters and further subdivided into twenty-four ashtapadis (hymns consisting of eight stanzas). "Srita Kamala" is the first ashtapadi, setting a devotional tone by establishing the supreme divinity of Krishna before diving into the intimate pastimes (lila) between Radha and Krishna that form the core of the text.

Srita Kamala sung by Uttamasloka dasa (ACBSP)

Mridanga by Vishnudatt dasa (ACBSP)

Photos of Sri Sri Kishora Kishori taken in 1976 by Gopati dasa (ACBSP)  

Audio recorded 1976 by Gopati dasa (ACBSP)

Audio remastered 2024 by Uttamasloka dasa (ACBSP)

Dinanath dasa (ACBSP) 1979 Toronto Guru Puja

Travel back to 1979 and experience the transcendental energy of a thriving Hare Krishna community in its prime.

This recording captures Dinanath dasa (ACBSP) leading a Guru Puja kirtan—he was serving at Devasadhan Mandir in Detroit at the time—during a special visit to New Remuna Dhama in Toronto.

The Toronto Kirtan Standard

During the late 70s, the Toronto temple was world-renowned as a premier center for kirtan. The acoustics of the community's home—a magnificent former grand church on Avenue Road turned Radha Krishna temple—provided the perfect resonance for the Mrdangas of Lord Chaitanya. In this recording, you can hear the deep vibrations of the drums, the sharp chime of kartals, and the haunting echo of gongs filling the sacred space.

A Thriving Temple Community

At the time of this recording, the Toronto temple was a powerhouse of bhakti, led by several stalwart devotees:  The temple president was Viswakarma dasa, the temple commander was Bhakti Marg dasa (now Maharaj). They were there during this kirtan.  

About this Recording

Listen closely to the palpable enthusiasm and spiritual passion of the devotees during this Guru Puja for the pleasure of Srila Prabhupada. The recording serves as a sonic window into a golden era of ISKCON Toronto, where every chant was infused with a deep desire to please the spiritual master.

Recorded by Gopati dasa (ACBSP) using a Nakamichi 550 portable audio deck with a 3 mic system.

Śrī Guru-vandanā

The song Śrī Guru Caraṇa-padma, known as Śrī Guru-vandanā, was composed by Śrīla Narottama dāsa Ṭhākura. This prayer is offered by devotees to express their gratitude and surrender to the spiritual master, who serves as the transparent medium to Krishna

śrī-guru-caraṇa-padma, kevala-bhakti-sadma, vando mui sāvadhāna mate

The lotus feet of our spiritual master are the only way by which we can attain pure devotional service. I bow to his lotus feet with great awe and reverence.

jāhāra prasāde bhāi, e bhava toriyā jāi, kṛṣṇa-prāpti hoy jāhā ha'te

By his grace one can cross the ocean of material suffering and obtain the mercy of Kṛṣṇa.

guru-mukha-padma-vākya, cittete koriyā aikya, ār nā koriho mane āśā

My only wish is to have my consciousness purified by the words radiating from his lotus mouth. I have no other desire but this.

śrī-guru-caraṇe rati, ei se uttama-gati, je prasāde pūre sarva āśā

Attachment to his lotus feet is the perfection that fulfills all desires.

cakhu-dān dilo jei, janme janme prabhu sei, divya-jñān hṛde prokāśito

He opens my darkened eyes and fills my heart with transcendental knowledge. He is my Lord birth after birth.

prema-bhakti jāhā ha'te, avidyā vināśa jāte, vede gāy jāhāra carito

From him transcendental homage emanates; by him ignorance is destroyed. The Vedic scriptures sing of his character.

śrī-guru karuṇā-sindhu, adhama janāra bandhu, lokanāth lokera jīvana

Our spiritual master is the ocean of mercy, the friend of the poor, and the lord and master of the devotees.

hā hā prabhu koro doyā, deho more pada-chāyā, ebe jaśa ghuṣuk tribhuvana

O master! Be merciful unto me. Give me the shade of your lotus feet. Your fame is spread all over the three worlds.

Srila Prabhupada on the Significance of this Prayer

Regarding the importance of this song and the relationship with the spiritual master, His Divine Grace A.C. Bhaktivedanta Swami Prabhupada once noted:

"This is the process: guru-mukha-padma-vākya, cittete koriyā aikya. Do not try to be very intelligent. Simply try to follow the instruction of the bona fide spiritual master. Then our life is successful. This is Narottama dāsa Ṭhākura's instruction. We should not try to invent something. What the guru says, that is our life and soul. That's all. Then life is successful."

Chicago Bhajan Class: Gaurangera Duti Pada

Experience the heart-melting devotion of the Chicago Temple evening program! Join Uttamasloka as he leads a soul-stirring rendition of the classic bhajan, "Gaurangera Duti Pada," accompanied by the rhythmic expertise of Vishnu Datta on the mrdanga.

This beautiful song, authored by the great saint Narottama Dasa Thakura, glorifies the lotus feet of Lord Gauranga (Lord Chaitanya) and is a cornerstone of Gaudiya Vaishnava kirtan.

The Story: Chicago Bhajan Class 1976

Life at the Chicago temple from 1976 to 1977 was widely regarded by devotees as a unique pinnacle experience within ISKCON. Unlike the hierarchical mentality reported elsewhere, Chicago operated as a large, cohesive family where spiritual life thrived alongside high-quality care and management.

The Temple Program

The program was designed to keep devotees "surcharged":

• Constant Kirtan: Kirtans occurred multiple times daily, from the "blast" of Mangal arati to the "kirtan sandwich" of Sundara-arati in the evening.

• Focus on Quality: Management prioritized first-class deity worship and exceptional prasadam.

• Higher Taste: While successful in book distribution, the austerity was balanced by the "higher taste" found in the temple's music and prasadam.

The Bhajan Classes

To enrich this culture, Uttamasloka held bhajan classes three nights a week—described as a "Bengali hootenanny". For the other evenings, Bhagavad Gita class and the Sunday Love Feast were held.  Bhajan classes exemplified three principles:

• Teaching Melodies: Devotees learned complex melodies and lyrics that were otherwise difficult to master.

• Collaborative Spirit: Uttamasloka led the singing while Vishnudatta provided exceptional mridanga accompaniment.

• Atmosphere of Ecstasy: Chicago became a center for a refined, musical, and inclusive style of kirtan. Srila Prabhupada once remarked of the Chicago group, "Just see, this is ecstasy. This is real ecstasy”.

Recording

Recorded in 1976 by Gopati Dasa (ACBSP) 

Remastered 2024 by Uttamasloka Dasa (ACBSP)

Lyrics & Translation

Official Name: Sabarana Sri Gaura Mahima (Song 1)

Author: Narottama Dasa Thakura

Book: Prarthana

Verse 1

(kore) gaurāńgera dutī pada, jāra dhana-sampada, se jāne bhakati-rasa-sār

Anyone who has accepted the two lotus feet of Lord Caitanya as their only asset knows the true essence of devotional service.

Verse 2

gaurāńgera madhura-līlā, jāra karṇe praveśilā, hṛdaya nirmala bhela tār

Anyone who has let the melodious pastimes of Lord Caitanya enter their ears will find their heart becoming completely purified.

Verse 3

je gaurāńgera nāma loy, tāra hoy prema-moya, tāre mui jāi bolihāri

Anyone who chants the holy name of Gauranga becomes filled with ecstatic love. I offer my respectful obeisances unto such a person.

Verse 4

gaurāńga-guṇete jhure, nitya-līlā tāre sphure, se janā bhakati-adhikārī

Anyone who cries while chanting the glories of Lord Gauranga is qualified to realize the Lord’s eternal pastimes.

Verse 5

gaurāńgera sańgi-gaṇe, nitya-siddha kori māne, se jāy brajendra-suta-pāś

Anyone who considers the associates of Lord Gauranga as eternally liberated souls will surely attain the company of the son of Nanda Maharaja (Krishna).

Verse 6

śrī-gauḍa-maṇḍala-bhūmi, jebā jāne cintāmaṇi, tāra hoy braja-bhūme bās

Anyone who understands that the land of Gauda-mandala (Navadvipa) is non-different from the spiritual touchstone (cintamani) will live eternally in the land of Vraja.

Verse 7

gaura-prema-rasārṇave, se tarańge jebā ḍube, se rādhā-mādhava-antarańga

Anyone who dives into the ocean of the mellows of Lord Gauranga's love becomes an internal, confidential associate of Sri Sri Radha-Madhava.

Verse 8

gṛhe bā vanete thāke, 'hā gaurāńga' bole ḍāke, narottama māge tāra sańga

Whether one is a householder or lives in the forest, if they call out "Ha Gauranga!", Narottama Dasa begs for their association.

Purport by AC Bhaktivedanta Swami Prabhupada

"This is a song by Narottama Dasa Thakura in praise of Lord Caitanya. He says that one who has accepted the lotus feet of Lord Caitanya as his only wealth, he is the only person who understands what is the essence of devotional service... If one understands that Navadvipa-dhama is non-different from Vrindavana, then he actually lives in Vrindavana. And if one is attracted by the movement of Lord Caitanya, then he is to be understood as one of the confidential associates of Radha and Krishna."

Reliving the 1977 NYC Rathayatra | Ecstatic Kirtan by Dinanath Das

Step back in time to the streets of Manhattan for the Second Annual New York City Rathayatra. While the inaugural 1976 festival was graced by the physical presence of Srila Prabhupada, the 1977 celebration proved that the "Conquest of New York" was here to stay.

In this rare archival recording, hear Dinanath Das leading a powerful, driving kirtan as the three massive 45-foot chariots roll down Fifth Avenue. Despite the somber reality of Srila Prabhupada’s declining health in India at the time, the devotees channeled their separation into a vibrant explosion of devotion, carrying the Holy Name through the heart of the "Capital of the World."

Words of Srila Prabhupada on Rathayatra

"If you simply pull the chariot of Jagannatha, then all your sinful activities of many, many births will be immediately frozen. No more reaction."

"This Rathayatra festival is a mass movement for enlightening people in Krishna consciousness. It is not a sectarian festival; it is for all human beings."

"By seeing the Lord on the chariot, one does not have to take birth again in this material world."

(Based on the Shastric injunction: ratha-stham vamanam drstva punar janma na vidyate)

 Manhattan Memories: The 1977 NYC Rathayatra & Life at the 55th St. Skyscraper

The year 1977 marked a pivotal chapter for my family and the Krishna Consciousness movement in North America. Moving to New York City was a massive leap for us, but the energy of the city and the service awaiting us were undeniable.

I had been invited by Apurva das to cook at what was then known as the "first skyscraper in ISKCON." However, upon my arrival, the plan shifted quickly; Apurva handed the entire prasadam program over to me, as he had received an offer to head the program in Los Angeles.

The Skyscraper in Midtown

Our temple was a statuesque, twelve-story building in Midtown Manhattan. Srila Prabhupada was immensely proud of this structure. Just a year prior, in 1976, he had led the inaugural NYC Rathayatra parade down Fifth Avenue, famously remarking afterward that it was the culmination of all Krishna Conscious efforts in New York City to that point.

East 55th Street was the beating heart of our activity. The building was a hive of devotion:

• Govinda’s Restaurant: Located on the lower level next to the kitchens, it became a hotspot for Off-Broadway actors and musicians performing at Carnegie Hall or near Times Square.

• Prasadam Outreach: Beyond the restaurant, Sarvabhouma das operated orange juice carts across Manhattan, and we managed various catered events.

• Education: I was even blessed with the opportunity to teach a series of cooking classes at Columbia University.

A Community of Stalwarts

The spiritual atmosphere was maintained by incredible devotees. Vakresvara Pandit dasa led breathtaking kirtans accompanied by Bhumipati on mrdanga. Meanwhile, Vaisesika das was spearheading book distribution with legendary focus. Ever the aspiring pandit, Vaisesika would often pull me behind Radha Govinda’s curtains to recite the Brahma Samhita together for Their Lordships' pleasure.

In the hallways, you could find Yogesvara das launching his Bala Books publishing business, starting with the children’s classic Aghasura, the Terrible Demon. He would eventually go on to publish Yamuna Devi’s cherished masterpiece, Lord Krishna’s Cuisine. Working alongside stalwarts like Romapada (Swami), Adi Kesava Swami, Tosan Krsna, Prahladapriya Das, Tamal Krishna Goswami and many more devoted men and women created memories too numerous to list.

The 1977 Rathayatra Recording

The recording shared here captures the 1977 NYC Rathayatra, the second-ever celebration in the city. Although this took place shortly before I arrived with my family, I was gifted this audio through a recording swap with Vakresvara Pandit.

In this clip, listen to the ecstatic kirtan led by Dinanath das. You can hear the echoes of the "Conquest of New York" as the chariots—built at the rail yards—rolled past the skyscrapers.

The recording was remastered in 2024 by Uttamasloka dasa (ACBSP)

Festival Context: 1977

• The Route: From Grand Army Plaza down Fifth Avenue to Washington Square Park.

• The Mood: Though Srila Prabhupada was in India dealing with declining health, his spirit was vibrantly present in the chanting of his disciples.

• The Legacy: This festival solidified Rathayatra as an annual New York institution, a tradition that continues to transform the city today.

Hearing Dinanath’s voice takes me back to those foundational days on 55th Street—a time of hard work, immense scale, and deep devotion.

#ISKCON History #SrilaPrabhupada #NYC #Rathayatra #Kirtan #Bhaktivedanta #Manhattan1977 #Dinanathdasa

1977 Nabadwip Children’s Kirtan Under the Banyan Tree 

During Gaura Purnima week in 1977,  Divyanga Dasa and I took the boat across the river in the evening to attend and record festival kirtans using a battery-powered Nakamichi 550 recording deck with a 3 mic system. We did this a couple of times during th festival to document culturally significant Gaura Purnima celebrations in Nabadvip.

~Gopati dasa (ACBSP)

This is a rare high-quality field documentation for the 1970s, capturing the raw, unpolished, and high-energy devotion of Nabadwip during the 1977 Gaura Purnima festival. The recording captures the "spatial depth" of the kirtan, separating the lead singer's voice from the mrdanga, response of the crowd and the percussive "wash" of the cymbals.

The Auditory Experience

The recording reveals several layers of the Nabadwip soundscape:

• The Lead Vocals: The children perform in a traditional, high-pitched Bengali style, that are characteristic of the region’s devotional music. This expressive style of chanting the Holy Name is infectious, naturally inspiring everyone to join the congregational song.

• The Three-Mic Advantage: Because of the setup, there is a clear distinction between the Mridanga (the double-headed clay drum) and the Kartals (hand cymbals). You can hear the "snap" of the small cymbals and the deep, resonant "thud" of the drum's bass head, which usually gets lost on lesser equipment.

• The Acoustic Environment: The banyan tree and surrounding brick buildings create a natural reverb. The sound doesn't just dissipate; it echoes, creating a "wall of sound" that feels immersive and heavy.

Cultural Significance

This recording serves as a sonic "time capsule" of a period when Nabadwip was transitioning from a purely local pilgrimage site to a global spiritual hub. It documents the bridge between the ancient Bengali kirtan tradition and the burgeoning international interest fueled by the 1977 Western devotees under the guidance of A.C. Bhaktivedanta Swami Prabhupada. .

It was recorded in the town center under a banyan tree not far from the ghats where the boats from Mayapur docked. So many of Srila Prabhupada's disciples were eager to learn devotional arts, including traditional styles of kirtan. During the same time, the Mayapur Chandrodaya Mandir was holding a kirtan competition, inviting village kirtan groups in the region to participate. While the competition aspect of of the event was ill advised, the cultural connections made were tangible and influenced kirtans around the world, introducing traditional melodies, tals and styles to kirtans and bhajans. 

~Gopati dasa (ACBSP)

Recorded by Gopati dasa (ACBSP)

Location: Nabadwip Town Center, West Bengal (1977)

Remastered 2024 by Uttamasloka dasa (ACBSP)

#Kirtan #HareKrishna #Nabadwip #Mayapur #SrilaPrabhupada #GauraPurnima #VintageKirtan #Sankirtan #Mridanga #BengaliCulture #SpiritualMusic #1977 #FieldRecording #Nakamichi550

NYC Guru Puja led by Vakreswara Pandit in January 1978

The air in New York City felt heavier that November. When Srila Prabhupada departed this world on November 14, 1977, a profound, spiritual daze settled over us all. Our twelve-story skyscraper on 55th Street stood as one of his grandest monuments, housing programs that matched its architectural ambition, yet we moved through its halls like children who had suddenly lost their guardian. We held onto his promise that he would always be with us through his instructions, but the atmosphere had shifted. The steady hand that had always corrected our ship’s course and the boundless energy that sparked our own were now felt in absence rather than presence.

The arrival of Tamal Krsna Goswami in December marked a significant event in the temple. NYC was his first stop after leaving Vrindavan, where he had served as Srila Prabhupada’s constant companion through those final, sacred months. Because he had been so close to the flame, his presence carried a weight of intimacy with our spiritual master. As the chef and manager of Govinda’s Restaurant, I was asked to prepare a special lunch for him. To me, this wasn’t just a meal; it was a chance to channel my grief and love into service.

I spent the morning crafting a traditional feast of sixteen dishes, meticulously paired in courses. For two hours, I personally served the prasadam, my mind anchored on Srila Prabhupada—visualizing what he would have enjoyed and how he would have wanted it presented. I felt a quiet surge of confidence; it had been three years since I had cooked for him in Detroit in 1975, and my technique had matured alongside my devotion.

In the aftermath of that lunch, the trajectory of my life briefly hung in the balance. Goswami Maharaja invited me to join him in Dallas, while his colleague Dristadumnya Swami extended an invitation to Philadelphia. Though the offers were tempting, my heart remained tethered to the NYC temple family. I chose the intensity of Manhattan, continuing the food cart programs, the grand temple feasts, catering special events and  the classes I was teaching at Columbia University.

Life in that skyscraper was a whirlwind. When the elevators inevitably faltered, we took to the stairs, but our true "upward" movement happened every morning in the temple room. Our touchstone was the beauty of Sri Sri Radha Govinda and the daily Guru Puja. Vakreswara Pandit dasa, our temple commander, was a powerhouse of a kirtan leader, and alongside the expert drumming of Bhumipati dasa, they led 150 devotees in chants that felt like it echoed through the canyons of New York.

One morning in January 1978, I set up my Nakamichi 550 and a three-microphone system to capture the Guru Puja. Listening back to that recording now, you can hear more than just music. You can hear the raw passion, the unwavering devotion, and the unmistakable angst of a family processing a monumental loss. Those were singular, bittersweet times in the heart of the city—a period of finding our footing while never letting go of the hand that had led us there.

~Gopati dasa

Recorded: January 1978

Equipment: Nakamichi 550 with a specialized three-microphone system

Recording by: Gopati dasa (ACBSP)

#SrilaPrabhupada #RadhaGovinda #ISKCON #HareKrishna #Kirtan #1978 #NYC #GuruPuja #BhaktiYoga  #SpiritualHistory #GopatiDasa #prasadlife

The Rhythm of Tradition: Sri Krsna Sampradaya Kirtan Series (1976–1977)

Experience a rare journey back to the formative years of Mayapur’s festival culture. This three-part series captures a unique, rhythmic style of kirtan that bridged the gap between traditional Bengali heritage and the burgeoning Western devotion of the mid-70s.

The Story Behind the Sounds

During the Gaura Purnima festivities at the Mayapur Chandrodaya Mandir, pilgrims gather from across the globe to honor the pastimes of Lord Chaitanya. In 1976, amidst the sea of chanting, one group captured the hearts (and ears) of everyone present: Sri Krsna Sampradaya.

Their style was revolutionary to the Western devotees of the time. They practiced a disciplined, traditional approach where each syllable of the Holy Name was synchronized precisely with a specific drum tal (beat). This was so far removed from the standard "ISKCON style" of the era that it actually caused a stir—leading one confused devotee to try and "correct" the rhythm by ringing the temple bell!

However, the beauty of their musicality couldn't be suppressed. The recordings survived, inspiring a generation of devotees in Chicago and beyond to dive deeper into the complexities of traditional mrdanga and kirtan.

1. The original 1976 recording from Mayapur. Listen closely for the infamous temple bell intervention as the group introduces their unique drum-synced chanting.

2. 1977 Sri Krsna Sampradaya No 2 was recorded during the Mayapur Kirtan Competition, where the group was officially identified as Sri Krsna Sampradaya and widely recognized as one of the finest ensembles.

3. 1977 Chicago temple tribute to the style performed at the Chicago temple. Featuring Uttamasloka dasa on lead, Vishnudatta dasa on lead mrdanga, and Dhira Krsna dasa (now Bhakti Sudhir Goswami) on second mrdanga along with a chorus of the entire temple.  

Preserving the Archive

These recordings are more than just music; they are historical artifacts of a spiritual explosion.

• Original Archival Recording (No. 1): Gopati dasa (ACBSP)

• Field Recordings (No. 2 & 3): Gopati dasa (ACBSP)

Recorded using a portable field recording deck: Nakamichi 550 with a three mic system

• 2024 Remastering: Uttamasloka dasa (ACBSP)

"We tried to capture the sense of wonder and excitement we felt back then—the feeling of discovering a rhythm that felt both ancient and brand new.

In Chicago, we didn’t have any barriers. So we just did it, we just developed it. Everybody went along with it, it was fantastic, and it happened organically. It’s not like we had to have rehearsals. No. Everybody just fell into it. Everybody had their own instruments—a certain number of small, a certain number of medium and large kartals, gongs, this and that. It was like an orchestra, a gamelan orchestra or something. And everybody said, “These are my kartals. I use these every day.” It was that kind of thing.”

~Uttamasloka dasa (ACBSP)

The Renaissance of Devotional Arts: Chicago 1976–1977

While these recordings capture a specific musical style, they are truly snapshots of a much larger spiritual movement. In the late 1970s, under the inspired leadership of Uttamasloka dasa, the Chicago temple became a vibrant hub for the Devotional Arts.

Our service to Sri Sri Kishora Kishori was defined by a singular focus: everything offered to Them—and by extension, Their devotees—should be of the highest possible caliber. We understood that every aspect of temple life was an art form intended for the pleasure of the Divine. This "culture of excellence" permeated every department:

• The Culinary Arts: Preparing traditional prepared and sumptuous Prasadam and serving the devotees with Vaishnava etiquette.

• Deity Worship: The art of Seva. Sewing the most exquisite garments and the delicate art of flower arranging.

• The Living Word: Refining the arts of public speaking and the prolific and prolific distribution of Srila Prabhpoada's transcendental books.

• The Kirtan: As heard in these recordings, a deep dive into traditional melodies , musicality and the technical mastery of the mrdanga.

Guided by the verses and purports of the Srimad-Bhagavatam and Chaitanya-charitamrta, we felt a sense of unlimited expansion. Srila Prabhupada was still physically present among us, there was an unmistakable electric energy behind every service.

These were truly the Golden Times in the service of the Golden Avatar, Lord Chaitanya. We hope these recordings convey that sense of wonder, dedication, and the collective desire to offer only the very best to the Lord of our hearts. Hare Krishna. 

Broken Down Bus Kirtan 1975

The "Broken Down Bus" Kirtan: A 1975 Time Capsule documenting the cultural confluence between East and West through the celebration of kirtan. 

To understand the magic of this recording, one must visualize the Bengal of 1975. This was a world of vast, emerald rice paddies and small mud-walled villages that had remained unchanged for hundreds of years. There were no cell phones to call for help, no GPS to track the caravan, and limited electricity that rarely reached beyond the main towns.

Traveling to Mayapur back then was a true pilgrimage of austerity. The roads were narrow, pockmarked ribbons of asphalt winding through a landscape of bullock carts and hand-plowed fields. When a bus broke down in the twilight hours, you weren't just delayed—you were stranded in the deep silence of the Bengali countryside, where the only sounds were the crickets and the distant lowing of cattle.

It was in this setting—vulnerable, dusty, and uncertain—that one of the most spontaneous and "ecstatic" kirtans of the era took place.

The Story

Uttamasloka dasa (ACBSP) recalls:

"It’s 1975, the second year of the festival. We were hopeful things would be better than the austerities of the first big festival. The plane lands in Calcutta, they’ve got five or six buses waiting for us to take us to Mayapur. So we’ve got a caravan of buses going to Mayapur and we’re at the point where we’re going through these little villages, maybe an hour or two away from Mayapur, and our bus gets a flat tire. Everybody stops, fixed the flat tire, and all the buses go. We’re the last bus now and we go and they’re going off, and we get another flat tire and there’s no spare.

All the other buses have gone, and they didn’t notice that we weren’t behind them. So we’re stuck there right in a village. Should we drink the water? What are we supposed to do, die of thirst or is it OK? We’re just sitting there for hours and hours with nothing to do, just people chanting and maybe some people... After a couple of hours, it was five or six o’clock.

So farmers were coming in from the fields and they saw all these Western Vaisnavas, or at least Western people dressed like Vaisnavas. And so one guy came with a drum, “Hare Krishna...,” he started chanting, and another guy came with kartals. And then all of a sudden we had a kirtan going, and it got ecstatic. Then I took over and led a portion of it, and just when it crescendoed the buses came back to save us. It was the perfect thing, the timing of it, and it was just getting dusk. So we finally got into Mayapur late at night when all the mosquitoes were waiting for dinner."

Recording Credits

1975 Recording: From the archives of Gopati dasa (ACBSP)

2024 Remaster: Uttamasloka dasa (ACBSP)

Historical Context: The Golden expansion of ISKCON Kirtan

This famous recording captures the same spirit of excellence that defined temples in the late 70s. These were golden times, expanding under the presence of Srila Prabhupada.

From Jaipur to Chicago: How a 1976 Recording Inspired ISKCON’s Devotional Arts

The spiritual atmosphere of a Hare Krishna temple is defined by its sounds—the ring of kartals, the deep echo of the mridanga, and the collective voices of the devotees. While many temple practices became standardized over the decades, the history of ISKCON is filled with moments of creative, devotional inspiration where traditional roots from India directly reshaped the Western experience.

One of the most profound examples of this cultural bridge happened in April 1977 in Chicago, when a unique, high-intensity Tulasi Puja style was introduced—forever altering how devotees across the West would experience this sacred daily rite.

The Spark: A Mind-Blowing Evening in Jaipur (1976)

The story begins the previous year, near the end of the 1976 Vrindavan festival. Uttamasloka dasa (ACBSP) traveled to Jaipur, Rajasthan, to oversee arrangements for the carving of temple Deities. Assisted by his God-sister Mekala, who knew the local landscape intimately, Uttamasloka found himself at the historic Radha Govindaji Temple.

After witnessing the awe-inspiring sight of the entire city converging on the temple at 4:00 AM for mangal arotik, Uttamasloka returned later that evening with a tape recorder. He walked straight into an ongoing, hyper-intense Tulasi Puja.

As a Western devotee dressed in traditional dhoti and shika, he immediately caught the eyes of the local musicians. Standing right in the epicenter of the kirtan—sandwiched between a dholak player, a Bengali Vaishnava playing a clay khol, and a lead singer who had performed the rite every single night for 40 years—the musicians decided to "blow the mind" of the Western guest.

"I was standing right there in the middle, right next to the guy who sang it every night for like 40 years... the center was where all the drummers were. That’s why it was so intense—all these drums hammering away." > — Uttamasloka dasa

Capturing the Magic in Chicago (April 1977)

When Uttamasloka returned to the United States, he was inspired. Soon after, the Jaipur-style Tulasi Puja made its grand debut at the Chicago temple.

Gopati dasa (ACBSP) set out to capture the Chicago community's renowned kirtans with pristine audio fidelity. Utilizing a high-end, audiophile Nakamichi 550 recording deck with a three-microphone system, Gopati managed to archive the intense, layered rhythms of the community’s new daily standard.

Thanks to a meticulous May 2026 remaster by Uttamasloka dasa, this rare audio treasure has been preserved in stunning clarity, allowing listeners to hear the exact moment an ancient devotional rhythm found its home in the American Midwest.

A Global Legacy: Dovetailing Devotional Talents

The Jaipur rhythm didn't stop in Chicago. The master tape quickly spread through an inner circle of talented ISKCON musicians who refused to stifle their creative spirits.

• Sripati dasa took the tape to England, teaching the vibrant style across the UK.

• Nandikesvara dasa brought the percussive pulse to the Montreal temple and community.

• Visvakarama dasa integrated the style into the Toronto yatra.

As Gopati dasa reflects, this organic cross-cultural exchange echoes the mood of the golden lineage of Gaudiya Vaishnavism. Historically, leaders like Lord Chaitanya, Srila Bhaktisiddhanta Saraswati, Narottam Das Thakur, and Srila Prabhupada purposefully selected individuals with inherent musical and devotional talents to lead congregation chants.

When unique talents—whether in cooking, Deity dressing, theater, or complex drum rhythms—are offered up for Krishna’s pleasure, the entire community reaps the spiritual benefits.

Listen & Experience the History

The newly remastered April 1977 Chicago Tulasi Puja stands as a monument to the early days of the Hare Krishna movement, where tradition met artistic freedom. It features the timeless texts of the Śrī Tulasi-kīrtana ("Namo namaḥ tulasī kṛṣṇa-preyasi...") and the Pradakṣiṇā Mantra ("Yāni kāni ca pāpāni..."), backed by an unrelenting, joyous percussive drive.

Original 1976 Jaipur recording and May 2026 audio remaster by Uttamasloka dasa (ACBSP). Chicago 1977 live recording captured April 15, 1977 by Gopati dasa (ACBSP).

Lyrics & Translations Included in this Recording

1. Śrī Tulasi-kīrtana

(Originally composed by Śrīla Narottama dāsa Ṭhākur)

Verse 1:

(namo) namaḥ tulasī kṛṣṇa-preyasī namo namaḥ

rādhā-kṛṣṇa-sevā pābo ei abhīlaṣī

Translation: O Tulasi, beloved of Krishna, I bow before you again and again. My desire is to obtain the loving service of Sri Sri Radha-Krishna.

Verse 2:

je tomāra śaraṇa loy, tara vāñchā pūrāṇa hoy

kṛpā kori’ koro tāre vṛndāvana-vāsī

Translation: Whoever takes shelter of you has their desires fulfilled. By your mercy, please make them a resident of Vrindavan.

Verse 3:

mora ei abhilāṣa, bilāsa kuñje dio vāsa

nayane heribo sadā jugala-rūpa-rāśī

Translation: My desire is that you grant me a dwelling place in the pleasure-pastime groves of Vrindavan. Thus, with my own eyes, I will always behold the beautiful forms of the Divine Couple.

Verse 4:

ei nivedana dhara, sakhīra anugata koro

sevā-adhikāra diye koro dāsī

Translation: Please accept this prayer of mine. Make me a follower of the cowherd damsels of Vraja, grant me the authority for devotional service, and make me your own maidservant.

Verse 5:

dīna kṛṣṇa-dāse koy, ei jena mora hoy

śrī-rādhā-govinda-preme sadā jena bhāsi

Translation: This fallen and lowly servant of Krishna prays: "May this be my fate—may I always float in the ocean of love for Sri Sri Radha and Govinda."

2. Śrī Tulasi Pradakṣiṇā Mantra

(Chanted while circumambulating the sacred Tulasi plant)

yāni kāni ca pāpāni

brahma-hatyādikāni ca

tāni tāni praṇaśyanti

pradakṣiṇa pade pade

Translation: By the circumambulation of Srimati Tulasi Devi, all sins that one may have committed—even the most severe, including the killing of a brahmana—are destroyed at every step.

The Srita Kamala Story, a Legendary Krishna Dasa Babaji Kirtan in 1976

It was 1976, during the annual Mayapur Festival. The setting was a small room along "mosquito alley" near the main gate of the Mayapur Chandrodaya Mandir. What happened inside that room over the course of an evening would be captured on a borrowed tape recorder, preserving one of the most powerful and structurally unique kirtans in vaishnava history: Akincana Krishna Dasa Babaji Maharaj singing Śrita Kamalā.

Recorded by Uttamasloka Dasa (ACBSP), this audio tape has moved generations of devotees to tears. Below is the remarkable story of how this spontaneous recording came to be, followed by the timeless 12th-century lyrics and translation of Jayadeva Goswami’s masterpiece.

How the Recording Happened:

As recalled by Uttamasloka Dasa, the entire event was a product of divine arrangement:

"'76 we’re in Prabhupada’s room for an evening darshan, 50, 75 devotees there... I look up, and who’s sitting next to Prabhupada? Krishna dasa Babaji, and they’re having a grand old time while he’s answering questions."

Recognizing the legendary saint and musician, Uttamasloka followed Babaji Maharaj out of the darshan, begging him to come to his room to chant and record.

"So we go down mosquito alley to my room, and somebody had taken my tape recorder, just borrowed it. So I was like, 'No!!!' I went scrambling to other rooms, 'You got a tape recorder? You got a tape recorder?' Finally I got one..."

Though they captured introductory mantras on that first evening, Uttamasloka begged for one more session. They agreed to meet two days later at five or six o’clock by the gate. When Uttamasloka arrived with a few devotees and the tape recorder ready, Babaji Maharaj was already waiting.

What followed next:

"And he does śrita-kamalā-kuca-maṇḍala dhṛta-kuṇḍala e. Thank God we didn’t have any kartals because it would have ruined the whole recording. But in between each verse, as you know, he breaks out into a little mini-kirtan. And the first ones were conservative. He didn’t really do the breakout beat. But when he finally did the breakout beat, the ecstasy jumps off the tape and knocks you over."

The power of that recording lingered for decades. Uttamasloka recalls listening to it years later with Viswakarma Dasa in Hamilton:

"And when that thing broke out, we both choked on our food and tears poured from our eyes. It was so powerful, it was so palpable, we couldn’t control it. He did it five times, and by then more people came in... and we were going crazy. You can hear it."

Śrita Kamalā Kuca Maṇḍala

Written by Śrī Jayadeva Goswāmī (Gīta Govinda)

Srita Kamala is also known as the Maṅgala Gītam (an auspicious hymn of invocation) and is a celebratory, all-encompassing glorification of the Supreme Lord’s transcendental form, which is why it is sometimes sung by advanced devotees without crossing into confidential or esoteric boundaries

(1)

śrita-kamalā-kuca-maṇḍala dhṛta-kuṇḍala e

kalita-lalita-vana-māla

jaya jaya deva hare

Translation: Glories, glories to Lord Hari, the Supreme Personality of Godhead! He takes shelter on the lotus-like bosom of Goddess Kamala (Lakshmi/Radha), wears exquisite jeweled earrings, and is adorned with a beautiful garland of forest flowers. All glories to Lord Śrī Hari!

(2)

dina-maṇi-maṇḍala-maṇḍana bhava-khaṇḍana e

muni-jana-mānasa-haṁsa

jaya jaya deva hare

Translation: The Lord’s face shines like the brilliant orb of the sun. He destroys the bondage of material existence and is the majestic swan residing in the lake of the pure minds of the sages. All glories to Lord Śrī Hari!

(3)

kāliya-viṣa-dhara-gañjana jana-rañjana e

yadukula-nalina-dineśa

jaya jaya deva hare

Translation: O Supreme Lord, You subdued the terrifying, venomous serpent Kāliya. You delight all the living entities and act as the glowing sun that causes the lotus of the Yadu dynasty to bloom. All glories to Lord Śrī Hari!

(4)

madhu-mura-naraka-vināśana garuḍāsana e

sura-kula-keli-nidāna

jaya jaya deva hare

Translation: O Lord, slayer of the formidable demons Madhu, Mura, and Naraka! Seated grandly upon Your carrier Garuda, You are the ultimate source of joy and playful pastimes for the demigods. All glories to Lord Śrī Hari!

(5)

amala-kamala-dala-locana bhava-mocana e

tribhuvana-bhuvana-nidāna

jaya jaya deva hare

Translation: O Lord, Your eyes are as pure and beautiful as the petals of a spotless lotus flower, and You deliver the souls from material bondage. You are the sole maintainer and shelter of the three worlds. All glories to Lord Śrī Hari!

(6)

janaka-sutā-kṛta-bhūṣaṇa jita-dūṣaṇa e

samara-śamita-daśakaṇṭha

jaya jaya deva hare

Translation: O Lord (in Your form as Śrī Rāma), You are the precious ornament of Sītā, the daughter of King Janaka. You vanquished the demon Dūṣaṇa and effortlessly destroyed the ten-headed demon Rāvaṇa in battle. All glories to Lord Śrī Hari!

(7)

abhinava-jaladhara-sundara dhṛta-mandara e

śrī-mukhacandra-cakora

jaya jaya deva hare

Translation: O Supreme Lord, Your complexion is as enchanting as a fresh, rain-filled monsoon cloud, and You effortlessly lifted the mighty Mount Govardhana (or Mandara). Śrī Rādhārāṇī is like the celestial cakora bird, completely sustained by drinking the nectarine light of Your moon-like face. All glories to Lord Śrī Hari!

(8)

tava caraṇaṁ praṇatā vayaṁ iti bhāvaya e

kuru kuśalaṁ praṇateṣu

jaya jaya deva hare

Translation: O Lord, we offer our humble and respectful obeisances at Your divine lotus feet. Please look upon us with favor and bestow ultimate auspiciousness and spiritual well-being upon those who surrender to You. All glories to Lord Śrī Hari!

(9)

śrī-jayadeva-kaver idaṁ kurute mudam e

maṅgalam ujjvala-gītam

jaya jaya deva hare

Translation: May this beautifully radiant and auspicious song of devotion composed by the poet Śrī Jayadeva bring boundless spiritual joy and bliss to all who hear it. All glories! All glories to Lord Śrī Hari!

About the recording:

Vocal & Mridanga: Akincana Krishna Dasa Babaji Maharaj

Recording by: Uttamasloka Dasa (ACBSP), 1976

Remastered: Uttamasloka Dasa (ACBSP) 2026

Location: Mayapur Chandrodaya Mandir compound

Video by Gopati dasa (ACBSP)

The 1976 Kirtan Tour Reunion

In the mid-70s, kirtan wasn't just something we did—it was a focal point of spiritual life and the pure joy of living it.  We were all just kids, kanistha adults trying to figure it out, but when we got together for kirtan, something completely mystical took over. Looking back at the early spring of 1976, right before the Mayapur Festival, the stars aligned to create an intense, rare, and memorable event in the history of our movement.

The Crossroads and the Caravan in Detroit

It started for me in Detroit. Divyanga, Jiva Goswami, and I had left the Cleveland temple and were in Detroit contemplating our future. The Detroit temple stood out as one of the most thoughtful and opulent in the Fisher Mansion.  It was beautifully managed by Govardhan. 

The energy was visceral because all five of the legendary Radha Damodara buses had gathered there at the exact same time. Tamal Krsna Goswami, Jayananda Prabhu, and Vishnujan Swami, Lakshmi Nrisingha and Adi Kesava Swami were all there. It was a rare, monumental gathering of spiritual powerhouses. The frenetic style of kirtan with brahmacaris literally bouncing off the walls was new to us. Divyanga was a top book distributor, Jiva was pretty good and I was somewhat know for my cooking skills, so there was a concerted effort to have us join the Radha Damodara Party. 

Unexpectedly, the Chicago temple yatra rolled into town with Uttamasloka and Visnudatt leading kirtans. The focus on the Holy Name and the supporting musicianship created a spiritual intensity and we had not experienced anything like it. Uttamasloka, Visvakarma, and Nanda Kesvara had arranged a traveling kirtan tour as a prequel to the Mayapur Festival. It was designed to journey from Chicago to Detroit, then on to Toronto, and finally Montreal. The scale of excitement was off the charts and we jumped at the chance to live the life of a kirtaniya.

Bonding Over Kirtan and Prasadam

Vishnudatt was already famous in our circles for his world-class mridanga skills, especially from those legendary kirtan recordings that had come out of Mombasa, Kenya, with Rksaraja and Dinanath. But what many people didn't know back then was that he was also an absolute master in the kitchen—an excellent feast cook.  Because of our shared passions, we immediately bonded over the two things that held our world together: traditional kirtan and first-class prasadam.

Toronto and Montreal

When we hit Toronto and linked up with Vishvakarma, the chanting reached a level of ferocity I’ve rarely seen since. Vishnudatt lived up to his reputation, playing the mrdanga with devotional expertise. The kirtans manifested as a single, unified heartbeat.

Vishnudatt left the tour after the Toronto stop, but the rest of us pushed onward to Montreal to meet Nanda Kesvara.  Again, the kirtans were off the charts.  Uttamasloka, Vishwakarma and Nanda Kesvara all led beautiful kirtans. 

Chanting at 30,000 Feet

From Montreal, the climax of the journey went airborne. Devotees from all over the USA and Canada boarded an Air India flight bound straight for Calcutta. We took over huge blocks of seats on that 747, and it didn't take long before the instruments came out. For hours, at 30,000 feet, that airplane became a flying temple.  Memorably, Uttamasloka led a kirtan that reached a point where the pilot had to intervene in order to maintain the stability of the flight. 

Mayapur Chandrodaya Mandir

We rolled into the Mayapur Festival and the atmosphere was electrified. Right off the bus, Rksaraj led a kirtan with our greater party that was a grand continuance for the kirtan tour, setting a benchmark for what a unified, cooperative kirtan could be. Our mood was primed to see Srila Prabhupada in Lord Chaitanya’s homeland.  

Chicago ISKCON

But the story didn't end in India. Recharged and feeling empowered with Srila Prabhupada’s association, we traveled back and regrouped right where the tour had started: in Chicago. Vishnudatt was back too and we took over the kitchen together to craft incredible, heartfelt feasts for beautiful Kishora Kishori. The Chicago temple became renowned for the program of chanting, dancing, feasting and book distribution.  All on a groundbreaking scale orchestrated by Uttamasloka and the stalwart Chicago temple devotees.  

We were a family, we were a team, and whether we were chanting on a bus, cooking a feast, or flying through the clouds, we were doing it together for Srila Prabhupada. This was the story of the Chicago Yatra.  

New Remuna Dham, Toronto 1979

Three years later, It was a celebrated reunion with Uttamasloka, Vishwakarma, Vishnudatt and the devotees who were participants in that glorious 1976 kirtan tour.  This time, it included the venerable kirtan leader Dinanath Prabhu.  This was the first time Dinanath and Vishnudatt were together in kirtan since Mombassa, Kenya.  The result is a beautiful Gurupuja captured on the Nakamichi 550 recording deck.  

~Gopati dasa (ACBSP)

Sri Guru Carana Padma Remastered, Krsna Dasa Babaji, Mayapur 1976

In 1976, a cramped room in India became the unexpected stage for a moment of pure spiritual history. A small group of about 50 to 75 devotees had gathered around Srila Prabhupada for an evening darshan. Among them sat Uttamasloka Dasa, perched at the back of the room next to Viswakarma, who was preparing to update Prabhupada on temple renovations in Toronto. When Uttamasloka looked toward the front, his eyes widened. Sitting right beside Prabhupada, deeply engaged in a joyful conversation, was none other than the revered pure devotee, Sri Akincana Krsna Dasa Babaji Maharaja.

Mahanidhi Swami, writing in his book *Gaudiya Vaisnava Biographies and Samadhis in Vrndavana*, paints an intimate portrait of this exalted soul:

“Srila Prabhupada said that Krsna Dasa Babaji was akincana (free from all material attachments and possessions) and a paramahamsa (a swan like pure devotee). He was attached only to chanting the holy name of Krsna. Born in E. Bengal, he began Krsna consciousness in college, joined the Gaudiya Math, and took initiation from Srila Bhaktisiddhanta Sarasvati Thakura.”

Krsna Dasa Babaji was legendary among his godbrothers for his singular, unwavering attachment to chanting the holy name. His sole engagement in the temple was chanting Hare Krsna day and night. His Godbrothers, however, complained to Srila Bhaktisiddhanta Sarasvati Thakura. He told them his chanting was fine and that they should encourage him. He further said that they should place one newspaper ad, inviting all sincere men who were willing to chant Krsna’s name all day and night to join the Gaudiya Math. A few men came, chanted, and left. But Krsna Dasa remained steady in his chanting. Srila Bhaktisiddhanta Sarasvati ordered his men to provide all facility to the babaji.

Continually chanting Hare Krsna, Krsna Dasa Babaji began wandering all over India, especially in Mayapura and Vrndavana. He was fond of repeating the last instruction of Srimad Bhagavatam, *‘Always chant Hare Krsna and offer obeisances to the Lord.’* Before singing, which he liked, he would always glorify the previous acaryas. He possessed a deep, prophetic reverence for Prabhupada. While he was performing kirtana at Srila Prabhupada’s sannyasa initiation in Mathura, Srila Prabhupada told him to chant more. 

At that time, Krsna Dasa realized that Srila Prabhupada would lead a worldwide Hare Krsna movement. 

When remembering Srila Prabhupada, Krsna Dasa would often tell the devotees:

‘Your spiritual master is the greatest spiritual master who has ever existed, more than any other spiritual master. More miracles, more work than anyone before. Why? Because no other spiritual master was such a great servant of the holy name. And because he took the holy name all over the world.’

The Recording

As that evening darshan in 1976 continued, Babaji Maharaja decided to leave early, slipping out of the room with an older companion, who Uttamasloka recalled might have been his godbrother Mohini Mohan Dasa. Sensing a rare opportunity, Uttamasloka quickly offered his obeisances and followed them out into the hallway. He eagerly caught up to the elderly sadhu, pleading with him to come back to his room to chant and record a session. Uttamasloka was desperate to learn the intricacies of Babaji Maharaja's masterful mridanga playing. Although the companion urged that they had no time to spare, Uttamasloka's persistent begging finally won them over, and Babaji Maharaja agreed.

They hurried down the humid corridor coined by devotees as mosquito alley, but panic struck when Uttamasloka discovered that someone had borrowed his tape recorder without asking. Frantic, he began scrambling from room to room, knocking on doors and asking anyone if they had a recorder he could use. Fortunately, he secured one just in time. Sitting down together, Babaji Maharaja began to sing, capturing the introductory mantras the devotees chanted daily, including the profound verses of Sri Guru Carana Padma and Nama-srestham manum. 

At the time, Uttamasloka didn't know the proper terminology for mridanga beats, which are called *bols*; instead, he kept asking the master to play "mridanga mantras." Though Babaji Maharaja likely found the phrasing amusing, he graciously accommodated the request and recorded several beautiful melodies.

Before they parted, Uttamasloka asked for one more recording session. Lacking a watch, Babaji Maharaja simply agreed to meet in two days at five or six o’clock by the gate. True to his word, the saintly chanter was waiting exactly on time when Uttamasloka arrived. They moved into the room where a tape recorder was already set up, surrounded by only a handful of devotees.

What followed became a legendary recording of the prayer Srita-kamala-kucha-mandala.  That recording is here. 

Mangalacarana

Sources and standard English translations for each section of the Maṅgalācaraṇa (Introductory Invocations) sung by Sri Akincana Krsna Dasa Babaji Maharaja.

Verse 1: Obeisances to the Six Gosvamis

namaḥ śrī-rūpa-sanātana-bhaṭṭa-raghunātha-śrī-jīva-gopāla-bhaṭṭa-dāsa-raghunātha-caraṇebhyo namaḥ

Source: Traditional Gaudiya Vaisnava maṅgalācaraṇa prayer (originally adapted from Srinivasa Acarya’s Ṣaḍ-gosvāmy-aṣṭakam and popular liturgical phrasing).

Translation:
I offer my respectful obeisances unto the lotus feet of the Six Gosvamis of Vrindavana—namely, Śrī Rūpa Gosvāmī, Śrī Sanātana Gosvāmī, Śrī Raghunātha Bhaṭṭa Gosvāmī, Śrī Jīva Gosvāmī, Śrī Gopāla Bhaṭṭa Gosvāmī, and Śrī Raghunātha dāsa Gosvāmī.

Verse 2: The Glories of the Guru and the Holy Dhama

nama-śreṣṭhaṁ manum api śacī-putram atra svarūpaṁ

rūpaṁ tasyāgrajam uru-purīṁ māthurīṁ goṣṭha-vāṭīm

rādhā-kuṇḍaṁ girivaram aho rādhi-kā-mādhavāśāṁ

prāpto yasya prathita-kṛpayā śrī-guruṁ taṁ nato ’smi

Source: Raghunatha dasa Gosvami’s Stavāvalī, specifically the first verse of Śrī Mukta-caritra.

Translation:
I bow down to the lotus feet of my spiritual master, by whose legendary mercy I have obtained the highest holy name, the divine mantra, the company of the son of Śacīmātā (Lord Caitanya), and the shelter of Śrīla Svārūpa Dāmodara, Śrī Rūpa Gosvāmī, and his elder brother Sanātana Gosvāmī. By his grace, I have attained the grand city of Mathurā, the pasture grounds of Vraja, the exquisite Rādhā-kuṇḍa, Govardhana Hill, and the ultimate hope of gaining the loving service of Śrī Śrī Rādhā and Mādhava.

Verses 3 & 4: Invocations to the Spiritual Master

he śrī-guro jñānada dīna-bandho

svānanda-dātaḥ karuṇaika-sindho

he śrī-guro jñānada dīna-bandho

svānanda-dātaḥ karuṇaika-sindho

vṛndāvanāsīna hitāvatāra

prasīda rādhā-praṇaya-pracāra

Source: Standard Gaudiya Vaisnava prayer addressed to the spiritual master (traditionally sung before starting kirtana to invoke auspiciousness).

Translation:
O my spiritual master! O giver of transcendental knowledge, friend of the fallen, bestower of your own spiritual bliss, and ocean of exclusive mercy! O resident of Vrindavana, who are the incarnation of welfare for all souls, and who widely disseminate the pure love of Śrī Rādhā—please be merciful unto me.

Verses 5 & 6: Prayers for Forgiveness and Deep Devotion

he dīna-bandho karuṇaika-sindho

kuru prasīdaṁ mayi manda-mūre

lakṣāparādhe... kṛtayāparādhe...

he lakṣāparādhe bahu-pāpa-gāri

tvat-pada-padme 'stu matiś ca kṛṣṇe

Source: Adapted from traditional prayers for forgiveness (Aparādha-śodhana-stotram) and standard bhajana invocations detailing humility.

Translation:
O friend of the poor! O solo ocean of mercy! Please bestow your kind favor upon me, who am a foolish, dull-witted soul. Although I have committed hundreds of thousands of offenses (lakṣā-aparādhe) and am bound heavily by countless sins—let my consciousness, mind, and execution of devotion stay forever anchored at Your lotus feet, O Lord Kṛṣṇa.

Sri Guru Carana Padma (Guru Vandana)

The historical prayer captured in this recording was composed by Narottama Dasa Thakura in his book *Prema Bhakti Candrika*. In the audio track, Krsna Dasa Babaji Maharaja sings the standard opening verses of this Bengali song, which serves as a deep meditation on the mercy of the spiritual master.

(1)

śrī-guru-caraṇa-padma, kevala-bhakati-sadma,

bando muñi sāvadhāna mate

jāhāra prasāde bhāi, e bhava toriyā jāi,

kṛṣṇa-prāpti hoy jāhā ha'te

(2)

guru-mukha-padma-vākya, cittete koribo aikya,

ār nā koriho mane āśā

śrī-guru-caraṇe rati, ei se uttama-gati,

je prasāde pūre sarva āśā

(3)

cakṣu-dān dilo jei, janme janme prabhu sei,

divya jñān hṛde prokāśito

prema-bhakti jāhā hoite, avidyā vināśa jāte,

vede gāy jāhāra carito

(4)

śrī-guru karuṇā-sindhu, adhama janāra bandhu,

lokanāth lokera jīvanahā

hā prabhu koro doyā, deho more pada-chāyā,

ebe jaśa ghuṣuk tribhuvana

 1) The lotus feet of our spiritual master are the only way by which we can attain pure devotional service. I bow to his lotus feet with great awe and reverence. By his grace one can cross the ocean of material suffering and obtain the mercy of Krsna.

 2) My only wish is to have my consciousness purified by the words emanating from his lotus mouth. Attachment to his lotus feet is the perfection that fulfills all desires.

 3) He opens my darkened eyes and fills my heart with transcendental knowledge. He is my Lord birth after birth. From him ecstatic prema emanates; by him ignorance is destroyed. The Vedic scriptures sing of his character.

 4) Our spiritual master is the ocean of mercy, the friend of the poor, and the lord and master of the devotees. O Lokanatha Goswami! O master! Be merciful unto me. Give me the shade of your lotus feet. Your fame is spread all over the three worlds.

Sri Krsna Caitanya Prabhu Nityananda 

Sri Krsna Caitanya Prabhu Nityananda

Sri Advaita Gadadhara Srivasadi Gaura-Bhakta-Vrnda

Hare Krsna Hare Krsna Krsna Krsna Hare Hare

Hare Rama Hare Rama Rama Rama Hare Hare

Krsna Krsna Krsna Krsna Krsna Krsna raksa mam

Krsna Krsna Krsna Krsna Krsna Krsna pahi mam

Rama Raghava Rama Raghava Rama Raghava raksa mam

Krsna Kesava Krsna Kesava Krsna Kesava pahi mam

Prayers

Verse 1: The Glories of the Holy Name

kalyāṇānāṁ nidhānaṁ kalimala-mathanaṁ pāvanaṁ pāvanānāṁ

pātheyaṁ yan mumukṣoḥ sapadi parapada-prāptaye procyamānam

viśrāma-sthanam ekaṁ kavivara-vacasāṁ jīvanaṁ saj-janānāṁ

bījaṁ dharma-drumasya prabhavatu bhavatāṁ bhūtaye kṛṣṇa-nāma

Source: Padyāvalī (Verse 19), an anthology compiled by Śrīla Rūpa Gosvāmī. The verse is originally attributed to Śrī Lakṣmīdharācārya.

Translation:
May the holy name of Lord Kṛṣṇa bring you supreme prosperity. It is the reservoir of all auspiciousness, the destroyer of the sins of Kali-yuga, and the purifier of all purifiers. It is declared to be the provisions for the traveler who desires liberation, granting immediate access to the supreme abode. It is the singular resting place for the words of the greatest poets, the very life-force of the saintly devotees, and the primordial seed of the tree of religion.

Verse 2: The Potency of the Holy Name Over Obstacles

vepante duritāni moha-mahimā sammoham ālambate

sātaṅkaṁ nakhara-rañjanīṁ kalayati śrī-citraguptasya kṛtiḥ

sānandaṁ madhuparka-samprayata-vidhau vedhā karoti udyamam

vaktuṁ nāmani bhāveśvarābhilaṣite brūmaḥ kim anyat param

Source: Padyāvalī (Verse 21), compiled by Śrīla Rūpa Gosvāmī. This verse is attributed to Śrīla Sanātana Gosvāmī.

Translation:
When the holy names of the Lord are chanted with deep spiritual emotion (bhāva), all past sins shake with fear; the great majesty of material illusion (moha) falls unconscious; the cosmic scribe Citragupta fears that his ledger of punishments is now completely useless; and Lord Brahmā joyfully prepares a celebratory offering of madhuparka to greet the chanter. What more can possibly be said in praise of this name?

Verse 3: The Primacy of Nama-Sankirtana

kṛṣṇasya nānā-vidha-kīrtaneṣu

tan-nāma-saṅkīrtanam eva mukhyam

tat-prema-sampat-janane...

Source: Śrīla Jīva Gosvāmī's Bhakti-sandarbha (Anuccheda 273), quoting from standard Vaisnava scriptural descriptions of the nine-fold processes of devotional service.

Translation:
Among the many various ways of glorifying Lord Kṛṣṇa, the congregational chanting of His holy name (nāma-saṅkīrtana) is paramount. It is uniquely directly responsible for generating the vast wealth of divine love (prema-sampat)...

Verse 4: The Mahamantra 

Hare Kṛṣṇa Hare Kṛṣṇa Kṛṣṇa Kṛṣṇa Hare Hare

Hare Rāma Hare Rāma Rāma Rāma Hare Hare

Source: Kali-santaraṇa Upaniṣad.

Translation:
O Lord, O energy of the Lord, please engage me in Your divine loving service.

Verse 5: The Nectar Overwhelming the Senses

ekasminn indriye prādurbhūtaṁ nāmāmṛtaṁ rasaiḥ

āplāvayati sarvāṇi indriyāṇi madhurair nijaiḥ

mukhyo vāg-indriye tasyodayaḥ svāpara-harṣadaḥ

tat-prabhor dhyānato 'pi nāma-saṅkīrtanaṁ varam

Source: Śrīla Sanātana Gosvāmī’s Bṛhad-bhāgavatāmṛta (2.3.141).

Translation:
When the nectar of the holy name manifests on even a single sense organ, it floods all the other senses with its intrinsic, sweet spiritual mellows. Its appearance is primarily focused on the organ of speech, bringing boundless joy both to the chanter and to all who listen. Therefore, the vocal chanting of the holy name (nāma-saṅkīrtana) is vastly superior even to silent meditation (dhyāna) upon the Lord.

Verse 6: The Magnet of Devotional Wealth

nāma-saṅkīrtanaṁ proktaṁ kṛṣṇasya prema-sampadi

munīśaṁ sādara-sthaṁ paramākarṣa-mantra-vat

Source: Śrīla Sanātana Gosvāmī’s Bṛhad-bhāgavatāmṛta (2.3.142).

Translation:
Loud congregational chanting of the holy name is declared by the great sages to be the ultimate, ultimate treasure-house for generating love of Kṛṣṇa. It stands beautifully like a supreme, all-powerful magnetic mantra that irresistibly draws the mercy of the Lord directly to the heart.

Hare Krsna Hare Krsna Krsna Krsna Hare Hare

Hare Rama Hare Rama Rama Rama Hare Hare

Recording

Recorded during the 1976 Mayapur Festival by Uttamasloka Dasa (ACBSP)

Remastered 2026 Uttamasloka Dasa (ACBSP)

Prasad.Life presented by Gopati Dasa (ACBSP)

Uttamasloka Leads Chicago Mangal Arati in 1977

A Journey of Devotion

There are certain moments in a devotee’s life that become permanently etched into the soul. For me, many of those moments took place within the walls of the Chicago ISKCON temple during the mid-1970s. It was a time of immense growth, fiery determination, and an undeniable collective spirit that made the Chicago yatra legendary.

Transforming an Old YMCA into a Spiritual Sanctuary

The story really begins in 1973, when an old YMCA building built as a response to segregation in Evanston, Illinois 

transformed into a magnificent temple home for Sri Sri Kishora-Kishori. I was fortunate to be there for Their installation that year, witnessing the space change from a mundane structure into a vibrant spiritual oasis. The building’s former gymnasium was converted into a grand, cavernous temple room featuring a soaring ceiling and a balcony running along one side. Standing in that room, you could feel the sheer scale of the service that was about to unfold.

Just a year later, in 1974, we experienced the inaugural Chicago Rathayatra at the Civic Center—a historic event made unforgettable because Srila Prabhupada attended in person, anchoring our hearts further into the mission. 

Step Into the Kitchen, Step Into the Kirtan

By 1976, I formally joined the Chicago yatra as the head cook. While the kitchen was my primary service, one of spiritual foundations for those long days of cooking was Mangal Arati, where, as a congregation, we sang the prayers to the spiritual master by Visvwanatha Chakravati.  

Attending Mangal Arati in that massive, high-ceilinged temple room was an otherworldly experience. Long before the sun rose over the crisp Chicago morning, the room would fill with devotees absorbed in chanting the Sri Sri Gurv-astaka prayers.

The kirtans were often led by Uttamasloka Dasa, who had a wonderful way of anchoring the morning melody. Sometimes, he would switch out with Sripati Dasa (ACBSP) or the legendary kirtaniya Vishnu Datt Dasa, keeping the energy deeply meditative yet powerful. Over time, I had the honor of stepping in as the second mrdanga player for many of Uttamasloka’s kirtans. I also recorded many of them, preserving these outstanding kirtans for the future.  

We were deeply into the musicality of the kirtan, but always with a singular mindset: to be completely pleasing to Srila Prabhupada and Sri Sri Kishora-Kishori.

Looking back on that organic musical chemistry, Uttamasloka recalls:

“We didn't rehearse. It was all an organic morphing into this unified group. We had a band more or less. So, the mood was enhanced. It was important to make this a wonderful experience for the devotees, because we didn't have any sense gratification other than prasadam and singing and dancing. So that better be at the highest level possible, all things considered.”

The Chicago Reputation: Music Rooted in Devotion

During the mid-to-late '70s, the Chicago temple gained a massive reputation across ISKCON. Devotees everywhere knew us for three things: great kirtans, wonderful prasadam, and massive book distribution.

While our kirtans were musically rich, Uttamasloka always reminded us that technical talent meant nothing without the proper internal focus:

“I used to tell the devotees don't think just because our kirtans are a bit more musically adept than others that's why they're better. It's not that—it's the mood. It's what’s going on inside of us. If we don't have that, then all of our fancy playing is not really worth much. So let's not forget that. Let's always come from inside and let the good stuff, the style, the talent, enhance that, not dominate it. Let the intelligent rise, that inner beautiful stuff, you know, because that's what the kirtan is. You know, the music just took us. We were just on that train, you know, because it never fell apart.”

A True Collaborative Spirit

The entire Chicago program was intentionally designed to nurture devotional service in a way that left no one out. It wasn't about individual stars; it was about a true, collaborative spirit where everyone could participate, find their unique service, and offer it together.

As Uttamasloka beautifully puts it:

“And we did it every time. We took the kirtans to that place every time. It was so powerful. We all were on that train together. It could only happen with us together. And most importantly, it was saturated with sincere bhakti and that's what we all understood. It was us together that was making this happen. It wasn't one guy who could play the drum and sing. It was everybody. You had to be all together. And even the women didn't feel left out.”

Hearing how much that atmosphere meant to the devotees who passed through Chicago is the ultimate validation of what we built back then.

“I'm so proud of what we did. All the kirtans, the way the devotees were treated, everything," Uttamasloka shares. "Many people have told me it was the best time of their lives in Krishna consciousness. They say, ‘it was the best temple that I was ever in.’ That's like getting an award when I hear that, because so many devotees have other not so good stories.”

Looking back on those crisp Chicago mornings I appreciate how those days were historically important for Gaudiya Vaishnavas.  We were building something truly beautiful for Srila Prabhupada.

~Gopati Dasa (ACBSP)

Recording: 1977 in Kisora Kisori Mandir by Gopati Dasa (ACBSP)

Equipment:  Nakamichi 550 tape deck with three condenser microphones

Remastered:  2026 by Uttamasloka Dasa (ACBSP)

Video Photos are of Srila Prabhupada in Chicago in 1974 and 1975.  Also Kishora Kishori 1974 to 1977

Cover Picture:  Srila Prabhupada looking at Kishora Kishori in 1974.  Photo taken by Gopati dasa (ACBSP)

Sri Sri Gurv-astaka (The Samsara Prayers)

These eight verses, composed by Srila Visvanatha Cakravarti Thakura, are the foundational prayers sung at every single ISKCON Mangal Arati to glorify the spiritual master.

Verse 1

saṁsāra-dāvānara-līḍha-loka-

trāṇāya kāruṇya-ghanāghanatvam

prāptasya kalyāṇa-guṇārṇavasya

vande guroḥ śrī-caraṇāravindam

The spiritual master is receiving benediction from the ocean of mercy. Just as a cloud pours water on a forest fire to extinguish it, so the spiritual master delivers the materially afflicted world by extinguishing the blazing fire of material existence, of repeated birth and death. I offer my respectful obeisances unto the lotus feet of such a spiritual master, who is an ocean of auspicious qualities.

Verse 2

mahāprabhoḥ kīrtana-nṛtya-gīta-

vāditra-mādyan-manaso rasena

romāñca -kampāśru-taraṅga-bhājo

vande guroḥ śrī-caraṇāravindam

Chanting the holy name, dancing in ecstasy, singing, and playing musical instruments, the spiritual master is always gladdened by the kirtan of Lord Caitanya Mahaprabhu. Because he is relishing the mellows of pure devotion within his mind, sometimes his hair stands on end, he feels quivering in his body, and tears flow from his eyes like waves. I offer my respectful obeisances unto the lotus feet of such a spiritual master.

Verse 3

śrī-vigrahārādhana-nitya-nānā-

śṛṅgāra-tan-mandira-mārjanādau

yuktasya bhaktāṁś ca niyuñjato ’pi

vande guroḥ śrī-caraṇāravindam

The spiritual master is always engaged in the temple worship of Sri Sri Radha and Krishna. He also engages his disciples in such worship. They dress the Deities in beautiful clothes and ornaments, clean Their temple, and perform other similar worship of the Lord. I offer my respectful obeisances unto the lotus feet of such a spiritual master.

Verse 4

catur-vidha-śrī-bhagavat-prasāda-

svādv-anna-tṛptān hari-bhakta-saṅghān

kṛtvaiva tṛptiṁ bhajataḥ sadaiva

vande guroḥ śrī-caraṇāravindam

The spiritual master offers four kinds of delicious foodstuffs [analyzed as those which are licked, chewed, drunk, and sucked]. When the spiritual master sees that the devotees are satisfied by eating bhagavat-prasada, he is satisfied. I offer my respectful obeisances unto the lotus feet of such a spiritual master.

Verse 5

śrī-rādhikā-mādhavayor apāra-

mādhurya-līlā-guṇa-rūpa-nāmnām

prati-kṣaṇāsvādana-lolupasya

vande guroḥ śrī-caraṇāravindam

The spiritual master is always eager to hear and chant about the unlimited conjugal pastimes of Radhika and Madhava, and Their qualities, names, and forms. The spiritual master aspires to relish these at every moment. I offer my respectful obeisances unto the lotus feet of such a spiritual master.

Verse 6

nikuñja-yūno rati-keli-siddhyai

yā yālibhir yuktir apekṣaṇīyā

tatrāti-dākṣyād ati-vallabhasya

vande guroḥ śrī-caraṇāravindam

The spiritual master is very dear, because he is expert in assisting the gopis, who at different times make different tasteful arrangements for the perfection of Radha and Krishna's conjugal loving affairs within the groves of Vrindavana. I offer my respectful obeisances unto the lotus feet of such a spiritual master.

Verse 7

sākṣād-dharitvena samasta-śāstrair

uktas tathā bhāvyata eva sadbhiḥ

kintu prabhor yaḥ priya eva tasya

vande guroḥ śrī-caraṇāravindam

The spiritual master is to be honored as much as the Supreme Lord, because he is the most confidential servitor of the Lord. This is acknowledged in all revealed scriptures and followed by all authorities. Therefore I offer my respectful obeisances unto the lotus feet of such a spiritual master, who is a bona fide representative of Sri Hari [Krishna].

Verse 8

yasya prasādād bhagavat-prasādo

yasya prasādān na gatiḥ kuto ’pi

dhyāyan stuvaṁs tasya yaśas tri-sandhyaṁ

vande guroḥ śrī-caraṇāravindam

By the mercy of the spiritual master one receives the benediction of Krishna. Without the grace of the spiritual master, one cannot make any advancement. Therefore, I should always remember and praise the spiritual master. At least three times a day I should offer my respectful obeisances unto the lotus feet of my spiritual master.

Instructions on the "Morning Melody"

Srila Prabhupada was incredibly strict about the specific tune used during Mangal Arati. He called it the "Morning Melody" (a traditional morning raga) and expected it to be sung throughout the entire arati without deviations.

Several historical accounts and memories from his disciples highlight his instructions:

• No Musical Inventions: Prabhupada once expressed great distress to his GBC managers about devotees in India and the West inventing "fancy" or modern melodies for the morning program. He explicitly taught his disciples the exact low-pitched, meditative tune he wanted. 

• Sticking to the Tune: Prabhupada instructed that the Morning Melody should not just be used for the Sri Sri Gurv-astaka prayers, but should be sustained even when transitioning into the Hare Krishna Maha-mantra. He noted that switching to fast, upbeat, or complex evening tunes in the morning breaks the meditative mood of sadhana (spiritual practice).

• Listen to the Mantra: When some kirtan leaders complained that singing the same tune every morning felt monotonous, the response from senior Vaishnavas—reflecting Prabhupada's mood—the rich spiritual tradition forces one to actually listen to the Holy Name itself, which is the entire point of the practice.