1. Badara Re – "O cloud, bring the rains with you..."

Vandana has used Deepchandi , a traditional 14-beated north Indian rhythm, to depict the jumping flow of raindrops in the album’s first song, which is based on Raag Des. The santoor represents water and almost flows alongside the vocals. The flute represents the wind, and the tabla drum represents the clouds, thunder, and lightning. This is an essentially romantic song, and the sitar represents Meera Bai’s happiness when thinking about Krishna.


2. Piya Bin - ‘‘My home is lonely without my lover...’’

This song was composed by Vandana’s guru, Mr. D.K. Gandhe, and she first recorded it when she was an artist with All India Radio. Vandana has re-arranged this song for the album to mark her respect for her guru, and because of her love for this composition. The song is based on the notes of Bhairav Thaat, emoting pain and loneliness, as Meera sings of her longing for Krishna. This is one song where Vandana has employed Violins effectively to convey Meera‘s agony. The Flute in the background represents how Krishna is always there, but far away from Meera.


3. Sanware Ke Rang – "I have dyed myself in colours of Krishna..."

The song opens with a dream-emoting vibraphone. Meera says, “I am getting dressed up for my lover.” Vandana paints a picture of Meera Bai sitting in front of a dressing table, putting on jewelry and make-up, entranced with the idea of seeing her lover soon. This is a very romantic, ephemeral song composed in the easygoing Dadra rhythm.


4. Sun Lijo – "Please listen to my pleas!..."

Here, Meera is complaining to Lord Krishna that he has never manifested himself to her as he did to many of his other devotees. Vandana uses the iktara, a one-stringed instrument, to depict Meera Bai sitting in front of the Krishna idol, singing to him. It starts as a gentle song with few instruments, but then Meera grows impatient and desperate, and the torment is marked by tabla, flute, iktara, and manjira as the song climaxes.


5. Fagun Ke Din Char – "The month of Fagun month is short, let’s play Holi!…"

Meera’s husband, the King was killed in a war. But this did not affect Meera’s obsession with Krishna. Vandana has visualized this song as if a group of courtesans is playing Holi (the festival of colours) in the courtyard, and Meera watches over from the balcony. The song shifts to a solo in the stanzas, as Meera dreams she is playing Holi with Krishna, and they are singing and dancing joyfully. She is jolted back to reality with the loud sounds of the dholak, chimta, and dhol, as Meera realizes it was only a dream, and finds herself with the courtesans instead. The song’s treatment evokes the atmosphere of the traditional Indian Holi celebration.


6. Rana Ji - ‘‘O king, I will not be a slave to your whims anymore!...’’

Rana ji, Meera Bai’s brother-in-law and the new king after his brother’s death, is ashamed of Meera’s public expression of love towards Krishna and attempts to control her. He tells her to wear a royal saree, not her simple devotional clothes. In this song Meera confronts Rana Ji, her brother-in-law, in the royal court itself, and declares publicly that she does not want his money or his expensive clothes, that she is prepared to go out on her own, and that she is leaving to live as a saint, not his slave. Vandana has chosen Raag Darbari , the ‘Raag of royal court’ for this song, because it is expressive and powerful. Vandana uses the sarod instrument to complement Meera’s declaration, because its timber is soft, humble, yet clear and powerful, just like Meera was herself. The almost theatrical treatment of this song compliments the confrontational mood perfectly.


7. Chala Wahi Des – "Let’s go to that country where Krishna is!…"

Now Meera Bai is leaving everything behind. She has had enough of the royal family and decides to become a wanderer. Her devotees follow her, and some people even consider her a saint. Vandana has composed this song based on the notes of Bhairav Thaat. She evokes the atmosphere of a desert through a hypnotizing rhythm of the bells, iktara, dholak, dafli (tambourines) and tabla embodying the sounds of a caravan. The treatment is serene and serious, and the sound of the santoor represents a kind of mirage within the desert that Meera is traveling through.


8. Dandiya – Sanwre Ke Rang (rearranged)…

As a tribute to her childhood dream of becoming a playback singer in Bollywood, Vandana makes a splashy grand finale in true Bollywood style. Dandiya is a festival of nine nights, and a famous Indian dance form. The mood is festive, sung by a chorus, all singing to Krishna. The traditional north-west Indian sounds of dholak, dhol, chimta, manjeera combined with jazz drums, chimes and a punchy bass guitar give this track the unmistakable contemporary Dandiya character.

Additional Info
Devotion Embodied in Song: A Musical Story of Mystic, Heretic ...
About the songs
About the CD Jacket Artwork

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