Narayan Gopal portrait

A portrait of Narayan Gopal featuring the greatest singer in traditional Nepali dress, a coat over Daura and Suruwal (although only Daura is visible) with black Bhadgaunle cap. He is wearing his legendary glasses with thick rim and wears a soft smile.

Narayan Gopal photo by Min Bajracharya

Narayan Gopal's photo taken by journalist Min Bajracharya of Saptahik Manch, in Narayan Gopal's residence in Maharajgunj.

Narayan Gopal statue in Chakrapath, Kathmandu

This statue of Narayan Gopal is located at Narayan Gopal Chowk in Chakrapath, Kathmandu. The flower garland, red color, and the boutiques placed on and beside the statue were presented on his 21st death anniversary program held on December 5, 2011.

Photo credit: Nepal Diary blog. Click on the link to read more about the story of the statue and Ambar Gurung.

Ambar Gurung said, "Narayan Gopal used to drink a lot, sing with an open heart, and made us laugh. This statue constantly looks in a direction. Doesn't sing, There is no value of this statue of Narayan Gopal."

Amber Gurung adds slowly, "That is why, I don't walk this way these days."

Narayan Gopal death procession photo (historical photo)

A photo published in Gorkhapatra, showing a huge mass of people to say goodbye to the greatest singer in Nepali history.

Narayan Gopal died on December 5, 1990. Narayan Gopal has left a void in Nepali music, which hasn't yet been filled. Although the photo taken during the death procession of Narayan Gopal is not that clear and is taken from Gorkhapatra daily published at that time, it sure has a historical significance.

Remembring Narayan Gopal two decades after his death

Even after his death 20 years ago, Nepali modern music and singing still misses the voice and music of Narayan Gopal.

Narayan Gopal died on December 5 of 1990 (19 Mangsir, 2047 B.S.) at 9 p.m. in Bir Hospital Kathmandu, at an age of fifty-one. He was suffering from diabetes but wouldn't follow strict dietary rules.


After his death, no other Nepali singer has been such a versatile singer. Narayan Gopal was also the first generation of Nepali singers who took music as a profession. Wide range of his voice range allowed him to sing songs of every genre of Nepali music.

Lyrics/song - Parkhi Basen Aaaula Bhani

lyrics by Nir Shah
The lyrics was posted previously - in Nepali script -> Parkhi Base Aaula Bhani

Parkhi base aaula bhani...
Mero uthne paalo...
Mero uthne palo..

Kurda kurdai...
Zindagi nai...
Bhaai gayecha kalo kalo..
Bhaai gayecha kalo
Mero uthne paalo...

Parkhi base aaula bhani...
Mero uthne paalo...
Mero uthne palo..

Wori pari adhyaro cha
Akha kholi herda
Andhyaro nai dekhincha ni
Akha chimli herda...

Wori pari adhyaro cha
Akha kholi herda
Andhyaro nai dekhincha ni
Akha chimli herda...

Aafnai chhaya
Aafai siita..
Bhagi hidna thalyo..
Bhagi hidna thalyo..

Aafnai maya
Aafai lai..
Bojh lagna thalyo, thalyo
Bojh lagna thalyo..
Mero uthne paalo
Mero uthne palo...

Parkhi base aaula bhani...
Mero uthne paalo...
Mero uthne palo..

Tato hawa gayi dincha
Manai polne gari
Nirasha ko diyo jhalcha
Dilai jalne gari...

Tato hawa gayi dincha
Manai polne gari
Nirasha ko diyo jhalcha
Dilai jalne gari...

Barsau bhayo...
Chalekai cha..
Maan bhitra yo aadhi..
Maan bhitra yo aadhi..

Basnu paryo badhyata ma
Chahana lai badhi badhi...
Chahana lai badhi..
Chahana lai badhi

Parkhi base aaula bhani...
Mero uthne paalo...
Mero uthne palo.....
Listen the song:

Lyrics/song - Mera Sabai Raat Aba

Mera Sabai raat aba
Maat Haru Bhaye
Gindagi Nai Ne Bujne
Baat Haru Bhaye
Aafai Lai Rakne Yeha, Kunai Thau Bhayena  [x2]
Sabai baas Behosika Barat Haru Bhaye  [x2]
Mera Sabai Raat Aba……….

Sadhai Yo Sadak Maa Ma [x2]
Ke Ke Rojdai Hidchu
Afanta Ko Maaja Ma
Parichaye Khojdai Hidchu
Bhulera Bajar Bharika [x2]
Hajar Baisa Haru
Me Te Afai Lai Harai Afai Khojdai Hidchu  [x2]
Mera Sabai Raat Aba…

Khaile Kahi Birsiyera  [x2]
Aakas Khojdai Hidchu
Bhaktiyeko Mero Purano
Tyo Baas Khojdai Hidchu
Dharai Bhayo Aljeko [x2]
Yeha Bhid Bhitra
Tinai Bhid Ma Jindakiko
Avas Khojdai Hidchu.
Mera Sabai……

Listen the song:

Hari Prasad Rimal - Nepali music and theater legend

Seven decades long contribution and dedication to the Nepali music and theater has made Hari Prasad Rimal a legend in his own rights. Rimal was one of the first singers to sing in Radio Nepal.

In 2011BS Hari Prasad Rimal and Kishori Devi sung a duet titled "Jau Hami Badal Pari" After three month of the recording of the song , Rimal and Kishoridevi along with some of his colleagues met with a car accident. Kishoridevi couldn't survive the accident and went to 'Badal Pari' for real.

Apart from directing various stage shows, Hari Prasad has also acted in various Nepali movies including Aama, Manko Badh, Pariwartan, Ke Ghar Ke Dera, Santaan and others. Hari Prasad's elder brother Gopal Prasad Rimal was a noted literately figure. One of Gopal Prasad's popular plays, Masan, is going to be made into a movie by a noted film personality, Nir Shah.

Hari Prasad is currently suffering from lungs infection and has to take help of oxygen cylinder for breathing. Recently, The Film Development Board of Nepal, a government body to look after Nepali movies, has decided to provide an old-age pension to Hari Prasad Rimal, in recognition to his contribution to the Nepali movie industry.

Timilai Bhulda Ma Eklo Parechu

Timilai Bhulda Ma Eklo Parechu

Singer: Narayan Gopal
Music: Divya Khaling
Lyrics: Kanchan Pudasaini

Bipana Nabhai Baanchi Dine

Bipana Nabhai Banchi Dine

Music/Lyrics: Gopal Yonjan
Singer: Narayan Gopal

Let them eat cake: Mutu maathi dhunga raakhi hasnu parya chha.

STATE OF THE STATE
by CK LAL

Let them eat cake
Mutu maathi dhunga raakhi hasnu parya chha.

The remembrance of things past is part recollection and part recreation. Like the appearance of a rainbow on a rain-soaked day, memorable occurrences are too fleeting to leave a permanent impression. What we later remember is largely a picture of our own imagination. And with every lick, a part of the ice-cream melts in the mouth. Describing such experiences based on memory is, then, an exercise in creativity.

This story too is part fact, part fiction—a factional account. Much scientific research has shown that memory cannot be trusted without independent sources of verification. Details of this description may not stand up to close scrutiny. After all, it was such a long time ago, and memory starts to weaken with age.

Once there lived a carefree youth in a rented room inside Narsingh Camp at Thamel. Two of his immediate neighbours staying on the same floor of the house were a taxi driver and a cook. The young man never paid much attention to either. That was until he discovered, quite by chance, that the taxi driver was none other than Nepal’s most famous singer, the late Narayan Gopal.

The taxi driver Narayan Gopal was unusually shy. He didn’t talk much with anyone, let alone the young man who apparently did nothing, other than read thick tomes all day long. Confronted with awe-struck namaskars, the legendary singer would sometimes respond with an absent-minded wave of his hand—highly creative people are introverted because their minds are otherwise occupied. In addition to being an idol to his fans, Narayan Gopal is now a cultural symbol of even Nepal’s self-styled progressives.

Marxist critics lament that Narayan Gopal didn’t sing “songs of the people”. That is probably the best compliment to Narayan Gopal. Good thing he didn’t, Narayan Gopal didn’t need to prove himself to anyone. He had attained, to use a Gandhian expression, “a harmony between thought and action, experienced the unity between art and life”. He didn’t need to be a card-carrying representative of the masses to speak to them through music. And Narayan Gopal’s songs purified the soul.

Mass media, and democracy, turned Narayan Gopal into a national icon. But the neighbour in the Thamel apartment, Babu Kaji, turned out to be a different sort of artist in a medium that is much less recognised. He became the Master Chef of Nanglo—another name that is now a legend in its own right. For quarter of a century, Babu Kaji’s creations have pampered the palate of millions of finicky connoisseurs and demanding customers.

Zealous fans of our Swar-Samrat will find it preposterous to put Babu Kaji on a pedestal with their idol. But Narayan Gopal himself would have had no objection. He was a practical person with few pretensions. And Proust would have certainly approved: no art is as powerful as an honest portrayal of everyday life.

At the rooftop restaurant of Nanglo recently, I was struck again by the magic that ambience and food can evoke. There was an aroma of hot soup wafting in the winter sun, the sight and sound of a sizzler arriving. In such a setting, Ashutosh Tiwari planning a month-long art festival patterned after something similar in Europe, or Renchin Yonjan visualising a grand boulevard on the scale of Champs Elysee between Bhadrakali and Singha Darbar, sound perfectly realistic. Eating in the sun below the blue skies in the company of friends you realise what may have made Louis Armstrong sing “What a wonderful world”.

But joy is a fragile feeling. It falls on the ground of hard realities, and shatters. A bejewelled woman is by the door of her car, a uniformed chauffeur shoos two street kids away. Sher Bahadur Deuba’s government is generating taxes through an ordinance. Holding the SAARC Summit was a matter of prestige for Nepal, and Deuba looked visibly gleeful when he suddenly saw President Musharraf extending his hand to Prime Minister Vajpayee. But raising taxes to pay for his 41-member jumbo cabinet?

Perhaps Deuba’s political mentor has an answer. Asked whether his personal honesty had any meaning in the political environment of a country where the word politics itself has become synonymous with corruption, Krishna Prasad Bhattarai replied on camera that being a rose could relieve you from the guilt of having mounds of manure at your roots. And only Finance Minister Ram Sharan Mahat could have come up with a scheme as ingenious as voluntary disclosure of property. Mahat is so forgetful that he once forgot to disclose his own foreign bank account.

As the third flatmate, that carefree youth sharing the Thamel apartment with Babu Kaji and Narayan Gopal, I look at the two and realise that living with inconsistencies is what makes life bearable in these contradictory times.

(This article was published in Nepali Times #78, February, 2002)

---

The following responses to the article were published in Nepali Times #82 (22-28 February, 2002)

CK Lal’s “Let them eat cake” (#78) about “Swar Samrat” Narayan Gopal has attracted the attention of this Trust. Lal’s recollections are interesting and wonderful, but what disturbed and shattered me badly was his reference to the singer being a taxi driver. I was with my husband during that period, and I am quite sure he never even touched the steering wheel of a taxi, let alone any vehicle with four wheels.
Pemala Guruwacharya
Narayan Gopal Music Trust

CK Lal replies: “Despite my advancing age, I stand by my memory.”

Narayan Gopal - was he a taxi driver?

In one of the articles of CK Lal in Nepali Times (he is a regular columnist), he gave a different identity of Narayan Gopal:

Once there lived a carefree youth in a rented room inside Narsingh Camp at Thamel. Two of his immediate neighbours staying on the same floor of the house were a taxi driver and a cook. The taxi driver was none other than Nepal's most famous singer, the late Narayan Gopal. The taxi driver Narayan Gopal was unusually shy.

CK Lal claims that he was the third flatmate, sharing the Thamel apartment with Babu Kaji and Narayan Gopal.

Narayan Gopal's wife however doesn't agree with CK Lal's claim.

CK Lal's "Let them eat cake" (#78) about Swar Samrat Narayan Gopal has attracted the attention of this Trust. Lal's recollections are interesting and wonderful, but what disturbed and shattered me badly was his reference to the singer being a taxi driver. I was with my husband during that period, and I am quite sure he never even touched the steering wheel of a taxi, let alone any vehicle with four wheels.
Pemala Guruwacharya
Narayan Gopal Music Trust

It is strange why Pamala need to reply in the name of Narayan Gopal Music Trust instead of  replying as herself, the wife of late singer.

CK Lal also didn't back from his claim by saying, "Despite my advancing age, I stand by my memory."

Personal Life of Narayan Gopal

Vocal King Narayan Gopal Guruvacharya was born on Wednesday Ashoj 18, 1996 Bikram Sambat (BS) to a Newar family in Kathmandu. He was the sixth child and second son of renowned Sitar player Late Asha Gopal Guruvacharya and Ram Devi Guruvacharya. Narayan Gopal's father being a classical musician, wanted his son to venture in music field and follow his footsteps. To the satisfaction of his father, Narayan Gopal became interested in music from his early years. But, the interest turned out to be not exactly into classical field. He went to India to study classical music. But, he was more interested in singing than a classical music.

Music composer, late Gopal Yonjon and Narayan Gopal were very good friends. To make the friendship last longer they were bonded together by being "mits" - an unique Nepali custom where good friends enter into a kind of a lasting friendship. Being mit is generally seen as strengthening of the friendship bond between two friends. Narayan Gopal has sung many beautiful and soulful songs composed by Gopal Yonjon.

Narayan Gopal married his long time fan from Darjeeling, Pemala Lama. Pemala and Narayan Gopal didn't have any children.

‘गीत-गंगा’ र तुहिएको सपाना - नारायण गोपालको शब्द-सम्झना

नारायण गोपालको शब्द-सम्झना

कुनै एक दिन पेमला भाउजूसित नारायण दाइका बानी-व्यहोराका बारेमा मैले खुलेर कुरा गरेथेँ । उनले सार्वजनिक नगर्ने सर्तमा भनेका कुराबाहेकको एउटा कुरा, सन्दर्भले आज सम्झिएँ । भन्थिन्- ‘भाइ ! नारायणको एउटा सपना थियो । यो घर संगीत-ट्रस्टको नाममा जाओस्, अगाडिको फूलबारीमा एउटा चिटिक्कको सांगीतिक हल बनोस् र त्यसको नाम ‘गीत-गंगा’ रहोस् ।’ यसो भनिरहँदा पेमला भाउजूको मुहार निकै उत्साहपूर्ण देखिन्थ्यो । त्यसबखतसम्म उनको स्वास्थ्य त्यति खस्किएको पनि थिएन । उतिबेला, यसो भन्दैगर्दा, मेरो मस्तिष्कमा भने नारायण गोपालको एउटा लोकप्रिय गीत घुमिरहेथ्यो-

यसैगरि बिताइदिन्छु दुई दिनको जिन्दगी
हाँसो म लुटाइदिन्छु आफू आँसुमा डुबी 

साच्चै नारायण गोपालको भावनात्मक अभिव्यक्ति अजीवको थिएछ । नत्र तिनका गीत पछाडि हाम्रा मान्छे यसरी झुत्तिने थिएनन् । उनका भावनामा रमाउने जमातको संख्या अहिले पनि अकल्पनीय छ भन्ने ठान्छु । साथै म एउटा मान्यताको अनुयायी पनि छु- ‘मनको गहिराइको अभिव्यक्तिले प्रवाह गर्ने सम्प्रेषण र त्यसको वृत्त उत्तिकै प्रभावशाली र फराकिलो हुन्छ ।’ नरायण गोपालले निर्माण गरेको साहित्य र संगीतको सहकार्यको उदाहरण उनको मनको गहिराइको अभिव्यक्ति हो जुन कहिल्यै साघुँरिने छैन । झन् फैलने छ । उनको भौतिक अवशानको अठारौं वर्षमा म किन यो भन्दैछु ? केही अनुभवले मात्र न हो ! जो हरेक मोडमा भोगिंदै आइएका छन् । थोरै नै सही, मैले पनि त अरु धेरैले झैँ सहरका फुटपाथ र गाउँका गोरेटा घुमेको छु । घुम्नुलाई पढ्नु जत्तिकै ज्ञानबर्धक पनि त ठान्ने गर्छु । त्यसैले घुम्दा मात्र घुम्ने उद्देश्य लिन्न है ! वरिपरि केही भेटिए तिनको अवलोकन पनि गर्छु र क्षमताले भ्याएसम्म तिनको गहिराइमा पस्ने प्रयत्नसमेत गर्छु ।

घटना-१
मंसिर उन्नाइस । दिन हुन्छ, नारायण गोपलाको अवशानको । घण्टाघर छेउको फुटपाथमा म र मरो मित्र सौरभ हिंड्दै हुन्छौं । हाम्रा छातीभित्र ओइलिएका मन र हातमा भने फक्रिएका फूल हुन्छन् । मान्छेको लाम एकेडेमीबाट सुरु भएर घण्टाघरसम्म तन्किएको हुन्छ । ठीक त्यही बेला एउटा हामीभन्दा अलिक पाको उमेरको सुट-बुटमा सजिएको बटुवा हाम्रा सामु उभिन्छ र प्रश्न गर्छ- ‘ए भाइ ! यो केको हुल हो हँ ?’ बाहिरी स्वरुपले उ पढैया नै देखिन्थ्यो र लवजले काठमाण्डौको स्थानीय भन्ने खुल्थ्यो । मैले उसको जिज्ञाशा मेट्ने धेयले भनेँ- ‘डाइ ट खबर मरुला !? नारान् डाइ मण्ट नि !’ (दाइलाई थाहा छैन ? नारान्-दाइ रहनु भएन नि !) मेरो सिकारु भाषाको भेउ पाएरै हुनुपर्छ ऊ नेपालीमै प्रतिप्रश्न गर्छ- ‘को नारान् दाइ ?’ म पनि कस्तो ? नारान् त कति छन् छन् नि ! तुरुन्त बोल्छु- ‘नारायण गोपाल के ! गायक !’ (हाम्रो ‘खोज-पत्रकारिता’को विकासले हो या ‘थर-प्रेमी’को प्रचार अभियानले हो, हिजोआज पुराना कलाकारको नाममा अनिवार्य रुपले थर जोडिन थालेको छ । मलाई भने त्यसबेलासम्म नारायण गोपालको थर थाहै थिएन र अहिले पनि महत्व दिन्न है !) मेरो अनुमान हुन्छ- नारायण गोपालको मृत्युको खबरले बटुवाको मुहारमा पक्कै केही समवेदना फैलाउला । तर एकनिमेषमै मेरो अनुमानको पर्खाल डङ्ग्रै ढल्छ । ऊ त ‘ह्याऽऽऽऽ’ आवाज निकाल्छ र बेवास्ता जनाउँदै आफ्नै बाटो लम्कन्छ । छ नि ! मलाई यो घटनाले निक्कै ठूलो असर गरेछ । त्यसैले त यद्यपि त्यसलाई सम्झेकै छु । सम्झेको मात्र होइन, त्यो बटुवाको माध्यमबाट मैले हाम्रो समाजमा साहित्य र संगीतलाई बेवास्ता गर्ने तप्का पनि त रहेछ भन्ने जानकारी पनि पाएको छु । जुन अहिले पनि पक्कै कायम छ भन्ने ठान्छु ।

घटना-२
मंसिर उन्नाइस । त्यही दिनको दोस्रो घटना । मैले नजिकबाट चिनेका एकजना आदरणीय, एकेडेमीको प्राङ्गणमा भेटिन्छन् । नारायण गोपालका गीतका श्रोता त उनी हुन् भन्ने मलाई स्पष्ट थाहा थियो । साथै आफ्नो सिद्धान्तका भने कडा प्रतिपालक । नारायण गोपालका विषयमा चर्चा चल्दा उनले बढी उच्चारण गर्ने शब्दमा ‘बुर्जुवा’ र ‘अप्रगतिशील’जस्ता शब्द पर्थे । अझ उनी नारायण गोपालको निजी जीवनका समेत कडा आलोचक थिए । नारायण गोपालका ‘फ्यान’हरूका भीडमा रुमल्लिएका उनको कृयाकलापल म राम्ररी निहारीरहेको हुन्छु । त्यतिबेलै नारायण गोपालको शवयात्रा आरम्भ हुन्छ । तिनै महोदय, जो आफ्नो झोलामा भूमिगत राखिएको फूल निकाल्छन् र नारायण गोपालको शवतर्फ हुत्याउँछन् । त्यसबखतको उनको हाउभाउले के भान पारिरहेको हुन्छ भने- उनको उक्त कृयाकलाप कसैले पनि प्रष्टगरि देख्न नपाओस् । यो घटनाले त अघिल्लो धटनाले भन्दा झन् धेरै चक्मा पो दिन्छ त मलाई ! मैले यो घटनाको माध्यमले भने- नारायण गोपालको अन्तरमन केन्द्रीत कलाको शक्ति र हाम्रो समाजको आडम्बर (जसले हाम्रा व्यक्ति-व्यक्तिको अन्तरमनलाई दह्रो गरी गाँजेर बसेको हुन्छ या छ भनौं !) लगायतका धेरै सामाजिक आयामलाई बुझ्ने अवसर पाएँ भन्छु ।

घटना-३
दिन फेरि मंसिर उन्नाइसकै । यो घटना त्यति पुरानो त होइन तर नयाँ पनि त होइन ! विगत केही वर्षदेखि चल्दै आएको एउटैखाले पट्यारिलो कृयाकलाप । नारायण गोपाल र पेमलाको संयुक्त मिहेनतले निर्माण गरेको घरको प्राङ्गण । जुन ठाउँमा नारायण गोपालले ‘गीत-गंगा’को परिकल्पना गरेर गएका हुन् । त्यही ठाउँ र उनको नाममा संचालित ‘नारायण गोपाल संगीत-कोष’ । जसले हरेक वर्ष नारायण दाइको एउटा औपचारिक सम्झनाको आयोजना गर्छ । कुनै एक साधकलाई सम्मान गर्छ । यसपाली पनि गर्‍यो । निम्ता थियो । म पनि पुगेथेँ । भाषण सुनेथेँ । फ्राँन्समा बसेका नरेन्द्र बाटाजू भाषणबाटै सम्मानित भए । उनलाई हाम्रा मूर्धन्य मान्यजनहरूले ‘सितार-सम्राट’को पगरी गुँथाए । राजनीतिबाट राजा पलायन भएका बखत संगीतमा ‘सम्राट’ खोज ! अचम्म मानेँ । हरेकवर्ष झैँ ‘गीत-गंगा’ र नारायण गोपालका सपानाकै कुरा पनि भए । परार, पोहर र यसपाली । उही, उस्तै । विलकुल निरीह । कोषमा रहेका सबै आदरकापात्र हुन् । मान्छौं । कसरी कुरा काटुँ र खै ? सबै ‘स्वनामधन्य’ । मूर्धन्य । सिर्जनशील । उद्यमी । आफ्नो क्षेत्रका सफलतम् व्यक्तिहरू । तर ‘गीत-गंगा’ र नारायण गोपालको अर्केष्ट्राको सपना भने अझै विफलताको शृंखलामा ! नारायण गोपालजस्तो साझा र सर्वमान्य नेपाली ‘आइकोन’को नाममा समेत यत्रो लामो विफलता ? अचम्म मान्नु बाहेक केही पनि त छैन ।

यो मंसिर उन्नाइस पनि पाठै सिकाउन मात्र आएजस्तो । छ नि त हाम्रोमा संस्थाहरू धेरै बन्छन् । तर सफल कमै । होलान् तिनका अनेक कारण । पहिलो त हामी कवि कलाकारसित जोडेर केही सिपालु व्यापारीलाई समेट्दै व्यवस्थापन जिम्मा लागाउन खोज्छौं । कवि-कलाकार र व्यवस्थापन नदीका विपरित किनारजस्तै हुन् । यो विश्वमै स्थापित मान्यतासरह नै छ । सस्तो व्यापारी सोचचाहिँ सिर्जनशीलताको मानमर्दन र निजी पोल्टातिरको ध्यानमा केन्द्रित । चौतर्फ यस्तै खाले निरन्तरता त देखिन्छ नि ! हेरुँ न हौ ! चाहे त्यो राष्ट्रिय प्रज्ञा-प्तिष्ठान गठन गरेर होस् या निजी कोषहरू गठन गरेर, वर्षौंदेखि असफलता र गुनासामात्र थुपार्दै त आएका छौं नि ! हामीले यो शैलीलाई कहिले फेर्छौं कुन्नी ! नफेरुन्जेल त हाम्रो अवस्था बिग्रेको घडीको सुइजस्तो अड्कँन्छ नै या अड्किएकै छ भनौं न । घडी बिगार्दैमा समय त रोकिन्न नि ! समयको त नियति नै हो, हरक्षण फुत्किरहने । यस्तोमा एकपल मात्र नै सही । सोचे हुने नि तिनले गाए जस्तो-

यसैगरि बिताइदिन्छु, दुई दिनको जिन्दगी
हाँसो म लुटाइदिन्छु आफू आँसुमा डुबी ।

मंसिर २१, २०६५ को कान्तिपुरबाट साभार

Narayan Gopal - Video Biography

Produced by - Promoters Nepal on December of 2005.

Euta Mancheko Mayale (music, lyrics and chord)

F                                         Gm                       Bb              F
Euta  mancheko  mayale  kati  pharak  pardachha  jindagima-2
F                                        Gm                        Bb           F
Euta  saathiko  saathale  kati  pharak  pardachha  jiunuma
Repeat first one line once……
F             Dm                     F
Sisir  yamako  jaadoma  pani -2
                      Bb    C7            F
Fuldachha  phool        muskanako
F                                      Bb
Andhyaro  aunsiko  raatama   pani
                     C7          F
Baldachha  Diyo  bisawasko
F                     Bb    A7                    F
Nayana   bharikoo ooo  aansoma  pani -2
F                   Gm   C7             F
Baseko  hunchha       tasbir   tyo
F                                              Gm
Hridaya  bhariko  chotamaa   pani
                   Bb            F
Lukeko  hunchha  mayalu  tyo
Repeat first two line once…………….
F                  Bm                     F
Bichod  hundako  dukhama  pani -2
F                  Bb    C7         F
Bharosa  huncha       milanako
F                                Bb              
Jhagada  hundako  bela  ma  pani
                    C7                     F
Patyara  hunchha  sahara   ko
F              Bb    A7                    F
Mayalu  binako      hundo  ho  kati -2
             Gm      C7                F
Urath  lagdoooo      sansar   yo
F                                         Gm
Pirati  binako  hundo  ho   kati
               Bb                      F
Nirash   eklo   samjhana  yo

Malai Maaf Garideu (music, lyrics and chord)

A                         E                A      Fm
Malai  maaf  garideu  mera  lovi  nazar
Fm                                 E       Bm
Kahin  kasaima  dubechha  bhane
               Fm                   E
Ma  ta  khoji  rahe  te  harek  chehera  ma
             Fm         E        A
Meri  sapana  ki  ek  preyesi  mayalu
A                  Bm                    Fm         D
U  aaunche  sandhai  ma  nidayeko  bela
           D         E                   Fm
Ani  dhalche  mero  chaati  ma
A                      Bm               A
U  saatche  sandhai  mera  pir  haru  sita
             B                           E          A
Uska  mitha  mitha  bhawana  aa  aa
Repeat first two line once…..
A                            Bm               Fm              D
Usko  ankha  ra  oonth   mero  rodhi  ghara  ho
          D             E                  Fm
Usko  chayan  mero  saatha  ho
A                          Bm             A
Usko  aanshu  barsa  usko  suskera  sisir
           B                         E          A
Usko  muskan  mero  madhumaas

Ankha Chopi Narau Bhani (music, lyrics and chord)

Music:

Fm                                                            D
Ankha  chopi  narau  bhani  bhannu  parya  chha
                        E                                        Fm
Mutumathi  dhunga  rakhi  hasnu  parya  chha –2
Fm                                                  Bm
Bholi  uthi  kaha  janey  kehi  thaha  chaina
                                         E                       Fm
Pharki  aunay  hoki  hoina  kehi  thaha  chaina –2
Fm                                                                   D
Bachha  chitai  auchhu  bhani  bhannu  parya  chha
                       E                                         Fm
Mutumathi  dhunga  rakhi  hasnu  parya  chha
Fm                                                       Bm
Chaati  bhari  ghau  besi  pakheriko  chhaya
                                        E                 Fm
Ankha  bhari  mela  pata  mayaluko  maya –2
Fm                                                     D
Aphailai  chaadi  katai  janu  parya  chha
                        E                                       Fm
Mutumathi  dhunga  rakhi  hasnu  parya  chha
Fm                                                           Bm
Bhanney  kura  kati  thiyo  chaati  bhitrai  rayo
                               E                   Fm
Parelika  authabata  ansu  jhari  rayo –2
Fm                                               D
Kulchiyera  aphailai  hidnu  parya  chha
                       E                                         Fm
Mutumathi  dhunga  rakhi  hasnu  parya  chha

Malai Nasodha Kaha Dukchha Ghau (music, lyrics and chord)

F  D7          Gm  C7     Eb   C7               F
Malaai nasodha     kahan        dukchha ghau    
     Bb             A7             Dm      F
Ma j chhu  thikai  chu  bitholna  naau
F    Am           Dm           Ab           F
Merooo  jindagima  sadhain  yo  udasi
F      Am                Dm    Db    C7       F
Sakeeekai  chhu  jiuna  Kahileeee  nahaasi
F                              Gm                   F
Mero  chahana  ho  timiii  hanse  pugchha
F                               C7                  F
Mero  ghau  timi  nahanse  po  dukchha
   Eb   Gm                               C7        F
Tesai  le  ma  bhanchhu  timi      muskurau
Repeat first line once…………
F   Am          Dm   Db    C7      F
Kataai  biranima   harayen  bhane  ma
F    Am          Dm         Ab                 F
Kataai  behosima  karayen  bhane  ma
F                            Gm                   F
Mero  prapti  timi  yeti  thaane  pugchha
F                             C7                  F
Mero  ghau  timi  nahanse  po  dukchha
      Eb                              C7       F
Andhyaromai  jiuna  thiyo       najalau