Nepali Song Lyrics and History

The Nepali Song Lyrics and History section presents lyrics and history behind a selected set of well-known Nepali songs. In addition to presenting the lyrics, we try to present the history behind the songs, especially the circumstances around them when they were written, composed or recorded.

As technology has made producing and sharing songs easier, we have seen many young artists recording cover versions for many well-liked and historic Nepali songs. This is a great accomplishment of Nepali music in being able to produce younger generations of artists following Nepali music. One of the goals of this project is to help such young artists, or anyone interested in Nepali music, find correct information about such well-liked songs when they need it.

In some instances, when such artists, looking to create cover versions, search for lyrics, they find that it is not always easy to find such information. This inadvertently leads to them producing cover versions with inaccurate lyrics, sometimes even with unintentional meanings. We hope that the information presented in this section will help minimize such scenarios.

Another goal of this project is to recognize the lyricists and composers of these well-liked songs. Often times, we find that mainly the singers are remembered for the well-known songs and find that the names of other important artists, especially those who wrote the words and set music to them, unintentionally are not given as much priority. We hope that by including the history behind the songs, many who love Nepali music will be able to know more about the important artists and their contributions to the songs.

Nau Lakha Tara Udaye

Read an essay about a song that is a history in itself, a Nepali political history and a history of Nepalis living in the Indian town of Darjeeling to the east of Nepal.

Yaha Fula Na Khilecha

Read an essay about one of Aruna Lama's first songs.

Ma Ta Lali Guras Bhayechu

Kshetra Pratap Adhikari wrote Ma Ta Lali Guras Bhayechu, Dibya Khaling composed it and Narayan Gopal recorded it. Adhikari is remembered for this song, along with a few others, in the Nepali music history. He credits Narayan Gopal for the song's success. In a documentary by a local radio station, Adhikari recalls, "One day, Narayan Gopal-ji suddenly came to my office. I had written Lali Guras (referring to Ma Ta Lali Guras Bhayechu), typed it and left it there. He came across the song, looked at it for a while, then he simply folded the song, put it in his pocket and left." Adhikari recollects about the song and describes how Narayan Gopal used to be very selective when it came to choosing songs and how he used to sing only the songs he [Narayan Gopal] liked.

"I think, to be honest, it was Narayan Gopal who made me a senior lyricist," Adhikari recognizes that it was only after Narayan Gopal sang Ma Ta Lali Guras Bhayechu that his career as a lyricist had reached new heights.

This song also brought Dibya Khaling to the forefront.

Salko Pata Tapari Gasera

Salko Pata Tapari Gasera was written and composed by Raju Silwal and recorded by Uma Gurung in 2033BS in Radio Nepal.

On a typical evening circa 2030s BS in Kathmandu, farmers would be returning to their homes after their work in the fields, singing on their way back. The folk songs the farmers sang, while returning from their work (referred to as returning from Melapat in Nepali) had inspired Silwal to write Salko Pata Tapari Gasera.

Uma Gurung credits her family for motivating her into music. Batuk Krishna Jwala, singer of Ye Doorka Sitara, was her maternal uncle. At a young age, Gurung had participated in a musical competition organized by Balaju Bais Dhara Club. Dharma Raj Thapa was one of the judges of the competition, where many renowned artists had competed. When Gurung's Salko Pata Tapari Gasera won the first prize in the competition, it marked a turning point in her career. Subsequently, she passed the Voice Test in Radio Nepal in 2032BS and recorded Salko Pata Tapari Gasera in 2033BS, when she was fourteen.

Yi Otha Timra

Chetan Karki wrote Yi Otha Timra for Kanchhi (1984), the second Nepali movie produced from the private sector after Maitighar. Gopal Yonjan is the composer of Yi Otha Timra and the recording artist is Aruna Lama.

The national movie awards, Rastriya Chalchitra Puraskar, in the category of best lyricist and best singer was awarded to Chetan Karki and Aruna Lama for this song.

Kanchhi was a big success and its success paved the way for production of more movies from the private sector. The first national movie awards had awarded singers Narayan Gopal (although Narayan Gopal did not accept the award) and Aruna Lama, director BS Thapa, lyricist Chetan Karki and actor Shiva Shrestha for this movie.

Sapana Bhulai Sara

Shiva Adhikari wrote Sapana Bhulai Sara and Natikaji composed it. Yogesh Vaidya, who recorded the song, found this song from Natikaji. "One day I noticed this song lying around on a table after it had fallen out of Nati Dai's (Natikaji) bag," Vaidya recalls, "I read the song three or four times and then started singing it. The more I read it, the more distinctive I found its way of expressing its profoundness and poignancy and the analogies used were equally heart touching." Vaidya had not even known the lyricist when he recorded the song in 2045BS.

Asarai Mahinama

Asarai Mahinama was written and composed by Tulsi Gazmer. The migrant workers of Darjeeling, with families back in Nepal, had influenced Gazmer to write this song.

Chhujang Dukpa sang this song and Aruna Lama joined the chorus.


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