Nainon mein badra chaaye ... in Raag Bheempalasi
This post explores this song unraveling the intricacies of Raag Bhimpalasi, and its impact on Indian music. I weave in some personal memories, insights, and gems from the public domain.
This song was an earworm for a brief period in my mother’s life. Thirty years ago, there was no on-demand music on YouTube, not did we have money for cassette players. I had to rely on my mother’s recollection of the song as she hummed it a thousand times while doing her chores—cooking, laundry, and just existing. It’s safe to say I learned this ode to Sunil Dutt 🥲 by induction.
My mom’s a great natural singer, although she’s not trained. She’s picked up enough in my classes just listening and honing her skills in private. When I finally heard this song in the on-demand era, I realized my mother’s version didn’t miss a beat.
Nainon mein badra chaaye is set to Raag Bhimpalasi. It’s one of Lata’s finest romantic numbers, composed by Madan Mohan. First, the lyrics by :
नैनों में बदरा छाए, बिजली सी चमके हाय
Clouds gather in the eyes, lightning flashes,
ऐसे में बलम मोहे गरवा लगा ले
In this moment, beloved, embrace me
मदिरा में डूबी अँखियाँ, चंचल हैं दोनों सखियाँ
Eyes drowning in wine, both friends are playful
झलती रहेंगी तोहे, पलकों की प्यारी पखियाँ
The dear wings of eyelashes will keep fluttering for you
शरमाके देंगी तोहे मदिरा के प्याले
Shyly, they will offer you cups of wine
प्रेम दीवानी हूँ मैं, सपनों की रानी हूँ मैं
I am mad with love, I am the queen of dreams
पिछले जनम से तेरी प्रेम कहानी हूँ मैं
I have been your love story since the previous life
आ इस जनम में भी तू अपना बना ले
Come, make me yours in this life too
If you want to learn how to sing this song, follow this video tutorial by Mumbai-based artist Preeti Joshi. She even shares the song’s notations.
About Raag Bhimpalasi
Bhimpalasi is an early afternoon raag, performed between 12 and 3pm, and is a part of Kaafi thaat. Characterized by the Komal Ga (flat 3rd) and Komal Nishad(Flat 7th), this one is unmistakable and unavoidable. You’ll find it used generously for film songs, folk songs, semi-classical number and more. Kaafi, the Thaat, and its intervals can be traced back to Natyashashtra. The scale and the notes have percolated over two millennia into the people’s minds in the sub-continent.
The Carnatic equivalent ragam is Abheri, and there, too, you’ll find probably hundreds of compositions in all vernaculars utilizing the scale. What’s clear in the interpretations of the notes in both systems is that the raag is soothing and infectious. I quote Parrikarji,
There is as yet no known antidote to the Bhimpalasi contagion. Fortunately, it strikes only those with a mind and so the damage is restricted to a very small fraction of humanity.
No matter which Raag I’m looking for, when I find Kishori Amonkarji’s take on it, I spend the next hour just soaking it in. It’s a feeling I can’t describe, like being cradled by the Gods. This composition is spellbinding.
रे बिरहा बामना सगुन बिचारो कब घर आए मोरा |
जबसे गए मोरी सुध हो न लीनी किन सौतन बलमा रहे मोरा
Rang Chuve Jo by Pt Jitendra Abhisheki
Mandara Kaba Aaave by Pt Ramashreya Jha
Popular Movie Songs in Bhimpalasi
Yeh zindagi usee kee hai from Anarkalee
Khilte hai gul yaha from the movie Sharmili
Tu mile dil khile from the movie Criminal
Radha Kaise na Jale from Lagaan
For more songs, consult and add to this list on Wikipedia.
Gratitude
Subscribers banner - Photo by Shane Konzen on Unsplash