Maëry Lanahan - Live Underwater

Maëry Lanahan is a performing songwriter with a sweet and soulful vocal prowess that captivates all who listen. She has just enough experimental attitude towards songwriting to create a truly unique sound that still touches the heart. Her songs have been about many highly personal things like overcoming abuse, realizing your creative potential, loving with a truly open heart, seeking spiritual fulfillment, and getting lost in the beauty of nature. Some songs tell a story with real people and dialogue and others just give a more abstract and poetic impression. Her style has the mystical originalty of Björk mixed with the somber emotion of Damien Rice. Matt Malley, formerly of the Counting Crows has said: „Maëry has a very organic spiritual style…“
These days, Maëry resides in Seattle with her percussionist/husband and they are working on a collaboration of art and music under the name „Elbows Touching“. Saying: „For so many years I have written songs and done paintings separately. Now I feel compelled to release them as one.“
We asked Mary for interwiev about her last album „Live Underwater“.

VH: Why the title „Live Underwater“? Is it different under the water?

ML: Water is a symbol for the unconscious, and when you’re under the water, you’re in another world. When I’m writing and performing songs, I’m really in such a creative space that is is another world to me. Also I’m striving to show people something otherworldy through music.

VH: Your music is something special then „normal music“. Although it is plugged-in, it connects the elements of the acoustic quitar, tablas and a violin. The violin is a very interesting element here. Does it fulfill the role of the solo musical instrument instead of the classical guitar?

ML: Yes, defintiely. When forming the band, I wanted to have the soloing instrument reflect how I hear the music. Violin is so ethereal and it’s like another voice. We wanted a sound that was rockin‘-but not exactly a rock band with a solo guitar….something in between.

VH: Why did you avoid the additional mixes, corrections and common procedures when mixing the CD? Was it the „first, raw“ sound you were interested in?

ML: When you get into the art of production, there really is no end to what you can do with a band’s sound, and with the songs. We wanted to release the CD as close to the live show as we could because it really documents what we were doing at the time. We just played a show inside the studio and then took the best recordings from that and released it-simple. We put so much work into our live shows, that’s where our energy was, not in production and studio time. For the time it was the best that we could do with our resources. With Lessen, our release in 2000, we spent all year in the studio and actually wrote parts in the studio. It was very laborious. We didn’t want to do that again. Our fans wanted the new songs to take home with them! Although I’m proud of both, I like the energy of the live sound better, even if I sacrifice some polish.

VH : Your voice is urgent, pressing, calling, thrilling, it evolves the feeling what it is going to be next in the song. Your compositions have a very special feeling, sometimes full of melancholy, sometimes with rock feeling. How did you get to the the guitar and to composing?

ML: When I was 14, I would sit with my mother’s guitar in our backyard which overlooked the little miami river in rural Ohio. I started to confide in music, all my deepest fears, desires, philosophies. It was a really difficult time for me as a teenager I was kind of a desperate and passionate type. I would not give in to accepting the world as my culture saw it. I knew there was a different way of life, I could touch it with music because music made me feel like I could be myself. What started out as therapy and self discovery turned into prayer and seeking something higher than myself. I would sneak out on a night walk at midnight, walk around my small town singing the whole time and not get home until sometimes 4am. I would write songs out of this space and just enjoy being alone and discovering what came out of me as it came out. Even still, I think back to that time and feel the inspiration of conjuring up my desire power.

VH: In the booklet you devote special thanks to Shri Mataji. Did the music connect you with Sahaja yoga or was there another impuls?

ML: When I was able to explore my desire power through creating music, I was able to realize that I would not give up until I found something that would help me reach my goals, in a spiritual sense. I started going to Sahaj Meditation classes across the street from my house when I was 16 and still in high school. Ever since then I have been able to grow into my spirit in a very fulfilling way. Music kept me real, and in prayer mode… and Sahaja Meditation was the answer to my prayers. If I look at where I was in the beginning, confused about the world, desperate to know the truth, very depressed and discouraged-even self destructive, and now 15 years later with so many blessings in my life and so happy- it’s all because of finding my spiritual path and following it! (to my best ability) It’s all because of what I’ve learned from Shri Mataji over the years. So yes, that core element gets special thanks on the CD jacket!

VH: You support the independent music, you say that it is very important. What does it mean to you?


ML: The main thing it means to me is that artists are able to stay true to their creative vision and not get molded by corporations who think they know what people want to hear. Artists should have complete freedom when it comes to making music. It is difficult to stick to these ideals because the whole music industry is set up to cater toward fitting into molds and genres. Luckily though, things in the music industry are changing and now the internet is allowing people to reach their audiences more directly.

VH: I woud like to ask you about the three songs which caught my attention:

The song Coil with the introductory didgeridoo can be found on your first CD Lessen. Very interesting vision of solo singing and a native instrument. Inspiration?

The didgeridoo is such a powerful droning instrument, when you sing on top of it it’s like sitting perched on top of a rock looking out over a cliff. I wrote the song Coil when I was all alone in the forest in Seattle in 1997. I returned several times to the same tree to finish out all the words and intonations. It never seemed to need or want any instrumentation, and didgeridoo seemed like the perfect thing to give it something to sit upon.

VH: Two Silhouttes belongs to my favorite. It appeared in the selection 1+1 and also on the CD which was as a present at the puja. What was the beginning of this song? How did it originate?

It’s a true story-love song. I was wanting to write a song that reflected true love, where you are so much part of someone that you hardly even notice that they’re there. Like you hardly notice that your fingers are on your hand, doing things all day long. It’s not that you don’t appreciate them by not noticing them, but rather that you just live your life using them all the time and are happy and complete. I really wanted to write a love song that had a nice sentiment that was genuine and hearfelt. I actually surprised my husband by singing that song to him on our wedding day in Ohio September of 2000! I had to keep my eyes closed the whole time because I peeked out at him once and he was bawling.

VH: I liked to watch in the NY subway small performances of various musicians. I was also attracted by your clip Brahma Shodhille, shot on the mobile exactly in NY subway. Was it a spontaneous action?

It was 2am after our show at the C-Note in the East Village. (I think there’s a recording of us doing the song Between that night at that show) We were staying in Queens with a friend and had to cart all of our equipment back after the show on the subway. As we waited, Brian, my husband/drummer got out his tablas and started playing very spontaneously-and the acoustics were great. The steps were full of really tired looking people waiting for the subway, and my bass player, Alessandro nudged me to start singing. The videographer that was traveling with us started recording. As we finished the song, our subway arrived. It was very spontaneous and short. It was one of those moments in life where you feel like you’re living inside a poem.



Maëry Lanahan on YOU TUBE :
Coil song, Brahma Shodhille song, Circling Currents song,

http://www.maerylanahan.com/

http://cdbaby.com/cd/lanahan2

New albums

Dear all,
We are pleased to inform you that we have added to the broadcast one new album and one single track. The first one is "Puja Songs" from various artists. The second single track is "Raag Bhairavi" - music fusion from Romanian´s group Turya Classical.

Mahamantras

Ganesh Stuti

Namami

Binati Suniye

Tujhya Poojani

Nirmala Kiti Varnavi

Hasat Ali Nirmal Ayi

Jago Savera

Ai Giri Nandini

Vishwa Vandita

Sab Ko Dua Dena

Turya Classical is a sahaj musical group from Romania dedicated to spread Indian Classical Music on string instruments. Their music is fusion two cultures, Eastern Classical Music with Western Classical Music. Turya Classical designed to be a string instrument assemble, offers an authentical classical music presented at its purest form.

Enjoy and keep listening!

Selim Ergen - The Joy Of Playing Together

With a wide smile and a nice open face Selim entered our national ashram in Uvaly in Czech Republic one early September evening. It happened exactly on the day of our national council meeting… He had just picked up his son from the Borotin kindergarden.
I knew, Selim plays the superb musical instrument sarod and I also knew him from the performances at Guru Puja 2002. He performed a solo concert in front of Shri Mataji. Back then, I didn’t guess yet that I was going to have an interview with him in the future. The CD he used to sell in that time somehow missed me …
Selim originates from Turkey and that September evening he played for us two beautiful ragas. I used the opportunity and asked him for that “one-CD-I-missed-out” and made an appointment for this interview…

VH: As I asked each yogi, I would also like to ask you … how did you come to Sahaja yoga?

SE: That is a long story but in short I met Sahaja yoga in January 1991 in a body building sports hall after a long sequence of events in my life. When I look back I realize how lucky and blessed I was to have met Sahaja yoga at that time as it was a very very rare thing to come in contact with Sahaja yoga then in Turkey. And also even more blessed to understand that Mother has not left me the choice to be in Sahaj or not and She took over and gradually I was into it. And Still that is a prayer I keep “Mother please chose for me, decide for me, take the flow of my life into Your hands“. We all know She does it thousand times better than we could. Miracles, such flow and organization of events, just a feeling of gratitude comes over as I think of those times. God is Great, Mother is Great.

VH: What were your music beginnings? In booklet of your CD I have read that you used to be a rock musician? What did you play on and in which bands?

SE: I started music quite late I was 14. My parents insisted that I learn classical quitar. After a couple of years I realized to read notes and to play was very difficult for me – and still today I have a big appreciation for my brothers and sisters whom I see to play classical music and can read notes just like a book. Any way after a couple of years I got an electric guitar and started playing rock and even heavy metal. Then in the university I started shifting towards Jazz and I played jazz guitar and that is the times when I started Sahaja yoga. I had several jazz compositions. So after Sahaj I heard Hindustani Classical Music and that really got me, it penetrated into me. I felt its great expressions and impressions and improvisations. I loved it in short. So naturally I tried to play it. First I learned to play the tabla, still I love to play it with my limitted capacities. But the feeling of Rhytym came to me so easily and spontaneously. Then I wanted to get some melodies out so I got a Turkish Folk Instrument called “cumbush“ and changed the tuning and started to play ragas on it.

VH: In ashram in Uvaly you were telling a story about the disscusion between Shri Mataji and you where she told you that you should learn to play on sarod. Could you please let our readers to know the story?

SE: Then first time I played in July 95 for Shri Mataji in Istanbul with the Cumbush. Her liking of it made me more enthusiastic for playing. Then again in 98 Easter and 99 Easter Pujas in Istanbul I played in Her Presence and She was pleased and She praised me and my playing and added that I should go to the academy and learn the sarod every time I played. This was not a discussion I must say. It was Her suggestion or I can say Her Divine Order which is not like an order at all but through that immense Love She just says it and that comes and settles in your heart and you can not do anything but to obey that subtle commandment. Only Goddess I guess can order in this sublime way by taking your heart into Her Hands. But for me it took a bit long, as She told me in all these years 3 times to go to the Academy and finally by my wife‘s support I got the courage to leave work for 3 months and went to Nagpur in the beginning of year 2000 to learn the sarod.

VH: Your CD contains two ragas. One for middle heart and other for back agnya. Could you please tell us a little bit about the meaning and effect of these ragas?

SE: This cd we recorded in Sept 2001 with my dear brother Pierluca. I dont remember how we chose these ragas. But Bageshwari and Durga are wonderful ragas, which I love to play always. And everytime I play I try to play them better and get more deeper into them. I read somewhere ragas are like deities and they have to be approached with utmost devotion and reverence by any musician if he needs to unfold the greatness of the raga. I believe it is true. But for the effect of the recorded ragas, I have to say that if any good comes out of them, it is only Through Mother’s Blessing as we recorded this cd at such an early stage, only 1,5 years of sarod practise.

VH: What sarod means to you? How did you learn to play on it?

SE: So sarod is the order of my God to me. It is Her Blessing, Her desire for me. Thus is very very precious to me. Every time I sit to play, I think of Her and pray that I can fulfill that order and touch the depths of my spiritual existence with whatever capacity I have. Whenever I play for my brothers and sisters in Sahaj, I pray that we may altogether rise up in our devotion and whenever play for non Sahajis I pray that this music should invoke in them the desire for God, the Love for God so that they long for Her and search for Her.
I was told before that sarod is very difficult even for some it is the most difficult instrument. It is true. I had a difficult period in the first months when I was a bit worried as to whether I was doing the right thing trying to learn the sarod at such a later age. But Mother’s words kept me on the path. I learned from Shankar Bhattacharya in Nagpur Academy and to this day I feel lucky to have become his student. He is a very good sarod player and also a wonderful person and also has lots of Love and Respect for Shri Mataji. He has been blessed by Mother many times as he played for Her may times. His teaching style is not at all theoretical. Just we sit together and he starts tuning to a raga which he tells me and I also tune to that. Then he starts playing and I try to copy his phrases, sentences, strokes. Anything I can hear I try to copy. He does not stop much to wait for my copying but teaches me the right thing just when I need. We have that brotherly connection that we understand each other. He is also a blessing of Mother for me. Then when I am alone – which is mostly the case - I learn on my own, in that Mother is my guru. She teaches me through unconcious and things which are not known to me consciously – the feelings, touches, expressions,etc..- starts to be open to me. I try to keep an hour of practise every day at least. My job unfortunately does not allow me to devote more time to it.

VH: Sarod means connection with agnya chakra. How do you feel this connection?

SE: My guruji , Shankar Bhattacharya once told me that Shri Mataji wrote to him on a paper that sarod is an instrument of the heart. So the beautiful combination of the heart and agnya. Isnt it when we have the heart open, we can forgive much easier and just leave all things aside and rise in Love. But of course the difficulty of the sarod reminds me of the agnya chakra. And I heard Mother also said once “this is a blind instrument“. It is difficult to get the right places of the notes on the sarod as there are no frets. So seeing does not help, one has to hear every note and this requires a very alert attention which is just relaxed. Similar to the state of thoughtless awareness. As we try to shift neither to the left nor to the right, the same we try to do in sarod, not to the left or right but just to get the right, perfect note.

VH: In 2002 I saw you in Cabella performing a concert in front of Shri Mataji. I think it was your first performing in front of Shri Mataji. How did you feel?

SE: That was not the first performance before our Mother. I will not go into detail but I was priviledged, honored, blessed whatever you can name it, to play for Shri Mataji quite many times. The first time I played Sarod for Shri Mataji was in Easter Puja 2000. Just 4 months after I started to learn. Every performance before Her is like a dream, such unique experience. They are golden moments of our lives. But the one in 2002 was also very special. That was in Guru puja and Mother had sent a mesage to me whether I will be coming to the puja and if I do She would like me to play the sarod. So after I got the message until I played I was like in heaven and full of devoted feelings and gratitude in my heart that God would be so merciful and kind to request me to play for Her. When I would die to play for Her She would in Her Gentle way ask me whether I would come and play in Her Presence.

To play in front of Shri Mataji actually was not always easy for me. Sometimes I would have a little tension of whether I will be able to make full justice to the chance granted on me. To get the perfect moods out of the raga and do a proper rendering is not easy but when I start to play I really dont think. But there are moments like when everything clicks together, then I am also listenning to myself, not only playing. The force and rhytym, melody all flows effortlessly and Sahaja then I know I am in Her Hands and She is playing. Those moments were really great and are very unique. Full of Love.

Meri Marshall - new song

Dear all
we added on YOUTUBE one song from Meri Marshall´s performance from Ganesha puja 2008 - this is her new song. Can be seen click here

Soul of Nepal - new album on radio

Dear all
we added nice album "Soul of Nepal" by Sy collective of Nepal.
Enjoy and keep listening!

Maharaggi

Aama Timro

Nirmal Aama

Timi Mata Pia

Ujjayalo

Milchha

Hanuman Chalisa

Sanjay Talwar - Singer of the Heart Part.3

VH: We have several of your records on our Sahaja radio. They are: Adi Shakti Poojan 1 & 2, Prerna, Roohani Roshani, Bandagi, Jagriti, Sahaj Sadhana, Phuhaar, Santulan, Santushti, Kahat Kabir, Kabir Bhajnamrit, Kabir Sur Sangam, Paigambari, Surkamal...
Which of them is the closest to you?

„Roohani Roshani“. Because Shri Mataji personally supervised its making. Right from the compositions, poetry, the prerecording Puja advice. At the recording time She put Her attention to it, and when it was recorded, She checked for its quality & amde me rerecord certain portions where she felt it needed correction. It also marked the maiden Album under my name „Roshan“(The Enlightened one) a khitaab (Name) She gave to me during its making. There were many things she said at that time, about this album being one of my best & would be the most popular of all. It really is very special and closest to me.

VH: Your last album „Jai Jagdambe Maa“ has come out with the official world mark TIME MUSIC. How did you manage to press Sahaja yoga to the world trade?

I had just had a meeting with Shri Mataji on 10th Dec 2002. I went back home and recorded a new album.
I met all the leading music companies of India and proposed this latest Bhajan album for a worldwide release. 'Times Music' reviewed my Bhajans and selected them for a worldwide release. Thus was born the music album - "Jai Jagdambe Maa."
The trick was - not to talk about mother or Sahaj Yoga to them. Just let them listen to the music, my voice and then decide. They asked me one question: "What inspired you to creat something so good and original like this?" I answered: „ It is the story of the Devas, who sought the protection of the Devi in the Devlok. These Devas were being routed by the Asuras or the Rakshasa, who had spread hell in the trilok. Finally the Devi went on a rampage to kill these demons. And now the devas have been reborn as Sahaj Yogis and Shri Mataji as the Devi Herself. And I am merely singing the praise of Shri Mataji for having saved us from our own Asuras that had come back to attack us in the subtle. The bhajans are actually the rejoicing of this victory that Shri Mataji has managed in this mortal world by giving the seekers Sahaj yoga, the ulitmate tool to all problems of life."

TIMES MUSIC IMMEDIATELY WANTED TO WRITE ABOUT SHRI MATAJI AND RELAESED HER ALBUM WITH A BEAUTIFUL PICTURE OF HERS AND HER LIFE NARRATION ON THE INNER COVER. IT WAS INDEED VERY GRACOIUS OF THEM. IT WAS RELEASED WORLDWIDE BYTHEM IN MARCH 2003.

It includes some popular Bhajans from my previous musical works - "Roohani Roshani & Prerna". In addition to these, I wrote and composed three new Bhajans. The CD' has a total of 8 Bhajans, recorded professionally to meet with the international commercial norms. The recording was completed Jan. 2003.

VH: The video CD „Maa Ka Aashirwad“ (Mother´s Blessings) is also very nice. Could you write us how was it created, where did you record it and what is the contents?

A separate Video production of the Bhajans of „Jai Jagdambe Maa“ was produced in March 2003. It was titled "Maa Ka Aashirwad"(Mother's Blessings) It comprises of an opening welcome song and has several photographic images of Shri Mataji, that best describe the lyrics of each Bhajan.
I hired a professional film director, a dance director and his team of dancers & choreographers. We filmed the songs in Pune and Satara in four different temples. Shri Mataji had soon thereafter taken to silence, but had blessed the project with all her love and good wishes. She gave many bandhans. It was a tribute paid to Her and was released during Her 80th Birthday Puja.

VH: Finally one more question – how does still Sahaja yoga fill you after so many years, what does Shri Mataji mean for you and what does music composing give you?

In order to do more justice to this question, I would first like to summarise my musical journey as a learning of Sahaj Yoga from the Teacher of all teachers, the Goddess Herself. And what a blessing...... It is a moment of great pride and fulfilment for me, ever since I started writing, composing and singing Bhajans in dedication to our Divine Mother in 1986.You will recollect the Bhajan tapes of Adi Shakti Poojan Vol-I & II, Roohani Roshni, Prerna, Jagriti, Sahaj Sadhana, Phuhaar, Paigambari, Santulan, Santushti, Kabir Sur Sangam, Kabir Bhajanamrit, Kahat Kabir & Soorkamal - all of which have been popular among Sahaja yogis, the world over. I had the privilege and blessings of our 'Mother' to write about all aspects of Sahaj Bhakti, as it grew within me. There was never an opportunity lost in sharing with Her my poems, which She corrected and even moulded, so as to impart a more deeper meaning to it. She filled these with all HER vibrations.Some of the Bhajans' lyrics, are actually her own words, as dictated to me.Sometime in Feb 1989, She had called me, to let me know, that my Bhajans would reach all corners of the world, and that seekers would be able to meditate on them. Later She even authorised my poems and compositions, that were subsequently recorded and presented to all of you in the form of the above-mentioned releases. All these Bhajan tapes, , having been there since last 22 years. I managed to recover not only my production costs, but many times over. The collections were presented to Her as Royalties.

In Her magnanimity, She allowed me to retain sufficient funds, so as to continue making more Bhajan recordings. That is how so many productions happened.Once there was a gap of about two years, when I had not made a new Bhajan Tape.She ordered me not to discontinue making them. There were many others who had also started doing the same, and there was a big competition. I was being stopped by many from continuing, but then She told me, that She was trying to overcome this evil of jealousy among human beings, and that till such time it happened, I must not lose hope and learn the art of forgivness.It was the 10th of December,2002, when I had a chance meeting with Her, that She shared with me a very thought-provoking fact. She said: "One day even I will have to leave this mortal being, and it is You people - the Sahaja Yogis, who will have to keep this lamp of love glowing in everyone's hearts. You will have to take the responsibility to lead all seekers of truth to their ultimate fulfilment through your own Self-Awakening."

Her words left a great impact on me. I was spellbound, and a great sense of urgency engulfed me. Almost instantly I shared with her my dream- 'to bring all the Poetry that She had filled me with; all the music She had nurtured in me, and all the sweetness She had endowed to my Vishuddhi, to reach out to the whole world- whether it be shared with all my Sahaj brothers and sisters, or with those who could receive the vibrations of Her love through my musical works and lead them to their Self Realisation. This would also include those seekers who were waiting to become yogis.
I asked her, that this time She did something so unique, that Her vibrations from these Bhajans would provide instant meditation to all. I prayed to Mother for her blessings, and she granted it. She told me that my work was already done. She then reminded me of Her golden words, when in 1989 she had predicted this would happen. She said: "Now, the time has come, and nothing can stop it from happening. So go ahead, you have my "Anant Aashirwad"(eternal blessings) .

That is when I took a very bold initiative and went on to sign the historical 10-year contract with TIMES MUSIC. I also went on to produce my very first Bhajan video CD - „MAA KA AASHIRWAD“ This project cost me over Rs 10,00,000.00.
Her blessings were such that I recovered every penny of it. And all this despite stiff opposition from some quarters. I really cannot blame anyone for it, because they ad no clue about my long association with Mother on this subject.

I have never spoken so much in detail and so candidly, as I have done in this interview.

Now coming to the essence of your main question- Sahaja yoga is that aspect of Shri Mataji that I am continuously learning. Its fulfillment is endless. I feel completely bathed in it & wish to keep having this bath till my last breath. What concerns me most is that I need to share this experience with as many people as can be possible. And that is the challenge I am presently dealing with. I still feel I have a lot to do, and so am hopeful to keep prodding on.

What Shri Mataji means to me? Well it must have become quite apparent to you by now.
We are indeed very fortunate to have SHRI MATAJI with us in our lifetimes.Imagine, we are living in times when the Goddess Herself has decended on Earth to save mankind from destruction.

Music Composing fills my heart with gratitude to Mother.
Here is an expression of gratitude that I would like to share with you:
Very recently I wrote a song in english. It is my promise to our Mother, written on behalf of all the Sahaj Yogis ( Jewels) of this world.
I am waiting to record this song in North America, as I know it is the song that would please the Adi Shakti very much.
It goes like this - "We’re in the Heart of the World with your blessings......“ - it is in Google
It is one of the ways I wanted to say:

THANK YOU MOTHER FOR GIVING US THIS BEAUTIFUL WORLD OF SAHAJ YOGA. WE PROMISE TO KEEP THE LIGHT OF YOUR LOVE GLOWING FOREVER.


VH: Where can our listeners buy your CDs and what is the price?

That is a good question, and I am myself trying to find some answers for it. Firstly, all my music was being made available by me only. In the early days ( 20 years back) my music was the first to come out. Mother wanted me to sell my own tapes. So these wouls be copied by my Sahaj Brothers form UK & Germany and given to me in ganapatiphule, where i set up my musici stall. This cotinued for about 10 years, till more and more musicains were born and morew tapes flooded the Sahaj music market. Mother then started the NITL in Pune, who then started to sell my music.

Lately NITL has been busy with Mother’s archives and due to too many musicians and too much work involeved in making all the music available to all the yogis, I found my works getting drowned in this vast ocean of Sahaj Love. So finally I decided to work my own music myself once again. I have reprepared all the music masters and have brought them with me for making them available to all of the Norht Americans first, as i am currently based out of Victoria BC. Currently my tapes are avbailable for sale with Mr Ahuja of the toronto Centre and Mr Mahadev form the Vancouver Centre. Maybe Calgary Centre still have a few left with Mr. Surjit and Binu. Details can be had from Dr Andrei Harabor. Else I too have some stock lying with me.

The CD’s are priced at $10.00 each and the DVD at $ 15.00 each. In case you need some stock for sales, you can order directly with me on email, and i shall have it shipped directly to you. Only the title Jai jagdambe Maa should be freely available in all stores worldwide (wherever Times Music has a contract to sell). I am the only other copyright holder entitled to sell my own work.

VH: Dear Sanjay, thank you very much.

Hope I have answered all your questions.

JAI SHRI MATAJI

Love

Sanjay (e - mail: [email protected])

Sanjay Talwar - Singer of the Heart Part.2

You will remember about my left Vishuddhi, when She first met me. Right? Well this was what She did- She was sitting with about 40 Yogis meditating in front of Her, while i had just entered the big drawinbg room of Mrs Pardal form the opposite door, where I could see Shri Mataji directly face to ace. Her evey were closed, and there was complete silence. Then all of a sudden the candle lit on the opposite wall flickered very hard and then I heard a swishh kind of a sound coming from the left of the room. The moment i turen towards it, I saw a big ball of fire entering through the wall of the room, and it went circling around the room so very fat, that in a jiffy, and probably with a wink of the eye, it just made through the other side of the wall and disappeared. Its light was still lingering in the room, as I gazed towards this miraculous happening. That ver moment my eye met with mother’s eye, as She suddenly opened Her eyes and looked directly into my eyes. She then smiled at me and then shut Her eyes. None of the 40 yogis who sat in the room meditating, saw this miracle, as they sat unmoved, as if nothing had happened.I was simply shocked to learn that this experience was just mine, and mother had acknowledged it to me. I became very curious, but quitely went and sat amongst the other yogis.

Soon after, when Mother sat relaxed on Her chair, and yogis had gooten up and were moving around, I went and asked few of them, if they saw anything. No one acknowledged. Now, I could not contain myself, and i went straight to Shri Mataji. Before I could even utter a word to Her, She whisperingly told me by cupping her fingers around my ear, not tot panick, as it was „VishnuMaya“,then she emphasised, it was my Vishnu Maya, that I saw, having just finished with my clearance, and that i was now free from guilt. She told me that I could now freely express myself, and I need not fear anyone. She also said that i was very special and that I must respect myself. She told me that there was a lot of potential in me which could be tapped, and that She was working on it.

I quickly ran to another room, as if unable to contain my joy. I returned after a few moments, and sat at Mother’s feet again. I had brought a paper and a pen, and I was already writing a poem and was reading it aloud to Shri Mataji. Mother immediately closed Her eyes and began talking in prose. I quickly jotted down every word She spoke. It was actually filling up the words to my poem, and at the end of it, a beautiful song was born. She then asked me to sing it, which I did. She commented, saying „ it is a true happening in Sahaj yoga and that is how the transformation happens. You must sing it to all the new people..“

Later, we travelled in the plane from Jaipur to Mumbai.

In the plane, She started to talk with me about Sahaj yoga, and how it works in us. I had many questions which She answered. She would suddenly fall asleep while talking, and I would then start writing poems. She would wake up in the middle and enquire how much I had written. She would then go through the poem with me, and correct it.The miracle that would happen was, that when I would narrate the poems back to Her, I would actually sing them, as if the music was composed already. I cannot remember, how and when it got composed. She liked the compositions, and told me that the Ragas I selected were most appropriate to the subject matter of each poetry. Amazing!! I had not a clue about it till she actually told me.She said " You must first share it will all the yogis. They will simply love it, and then you take it to all the seekers of Truth."Only music will do the final trick".

When we reached Mumbai, Mother went to Pune in her car, while I followed in a train. I wrote a poem in the train. When I reached Shri Mataji's flat in Pune, she asked me "So did you write anything?". "Yes Mother" I said, and then she asked me to sing it to Her.

My God, there are so many more instances that speak about how I became a Sahaj Musician. All I can say that I am merely the flute through which the Adi Shaki blew her breath, and as She moved her fingers on my chakras. The music that was born was simply divine.There is actually poem where I have actually described how this flute works and simply plays Her tune of love. It is one more memorable moment when I wrote this poem and met mother to take Her approval. The most beautiful moments of my life were spent with Her at that moment.

It is a Moment I will never forget:
Now let me share with you.... Moments that granted me the magic of music from the Saraswati herslf. It was February of 1997, and we were doing puja to Shri Mataji at Mumbai. I remeber it was Shivratri puja. It went on till the wee hours of the morning.Shri Mataji finally left the Puja venue about 2 am. I was staying at Juhu with a Yogi, and we reached home around 2.30 am. I do not know what came over me, and I just started writing. I had barely finished composing the new poem that I felt this tremendous urge to go and meet Shri Mataji. It was around 3.30am. The yogi with whom I stayed, started to tell me about the protocol with Mother, and that the leaders will be very angry, if we went and disturbed Mother at that hour. I remember, my Yogi brother telling me that I should not go at that hour, as Mother had just finished a Puja, and must be resting. But I was very adament. I told him- "if we have to meet Mothet, then nothing can stop us.If you do not want to go, then I will go alone." And so I got up to go, he was so much taken by my determination, and so he said " well then we shall face it together- whatever happens".

We got into an autorickshaw and got off right in front of Mother's Juhu retreat (owend by Mr Rahul Bajaj- the great Industrialist of India). As we got off, what we saw was to our utmost amazement. The front door to the bungalow was wide open, and as we walked towards the beach house, I could see Shri Mataji from a distance. She was sitting at the head of a round dining table with all the world leaders sitting beside her, along with Yogi Mahajan. I could hear from the distance Mother exclaimimg " Come.. Come.., I had been waiting for you. I knew you would have written something. So, is it ready now? Would you like to sing it to all of us? I had just finished telling all these people about the amazing gift you have and here you are. How did you know we were discussing you?" And she laughed. Then She asked me to sit beside Her, and when She finished washing Her hands ( She had just finished having Her dinner),She asked me to drink the contents of Her finger bowl. I looked as if I was in some sort of a Heaven and God was telling me to drink nector. I picked up the bowl and drank it.

I remember all the leaders whispering " please leave some for us. All this while we have been waiting for this moment, and you just land up and start drinking it all by your self" They said it very jokingly, but Mother had heard them, and said, " See, He is writing this wonderful poetry, which has to go to the whole world, so he needs it more than you all' and She started laughing.She then told me to sing my new poem and composition. As I sang it, Shri mataji closed Her eyes, and I felt some sort of a great opening in my Vishuddhi. It is hard to describe, what I was going through, but my entire being was just lifted into ecstasy. Shri Mataji asked everyone there to check the cool vibrations and then commented. " I am going to now take him with me all over the world, you see. I will have him sing his songs to all the yogis and the seekers of truth." She asked the Foreign leaders to invite me to the Foreign Pujas and have me sing at all the functions. She told them that from now onwad She was going to start a Music group, that will travel with Her, as She would travel the whole world giving realisation to all the sekers. She asked me to get my passport ready and get ready to leave for abroad that summer itself.This declaration of mother, was indeed the birth of Nirmal Sangeet Sarita.
The song I had composed that day was " Teri Sason ki Jab Ek Ladi...." It was later recorded in my musical release "Roohani Roshani"

There were innumerable such instances when I would be with Mother and She would call upon me to sing my new compositions. It had become like the 'order of the day' for me.I had, by now, become quite addicted to writing new poems and the music compositions would just flow spontaneously. Mother then commented that it was my Swadisthan chakra that had opened and that pure knowledge was flowing through me.

She said "So now you know, that there is some power that is working in you, Actually you are not the doer, it is that power that is awakened in you, that is doing all this through you. You are merely an instrument, surrendered to this power. And I have authorised it to happen, so you do not worry about making mistakes, as none will happen. This power is absolutely pure, and it is flowing for the benovalence of mankind at large. So never stop its flow. Just keep writing, and now you must records it all and make it available for all the Sahaj Yogis to buy. It will be a collection worth having for anyone, because it has the vibrations. It is eternal music of love.
She would bless me again and again, and whenever there would be yogis around, She would specially call me and ask me " can you please sing that particular song you made the other day"...

The best compliment Shri Mataji ever paid to me was, when She named me "Roshan“- the enlightened one. She once told me that I had the complete knowledge of Sahaj Yoga, and that she was very happy that I would be able to now write, compose and sing Her message to the whole world.I am still trying to understand what She really meant by that. I do know for sure,that if God is to be seen on earth today, IT IS PARAM PUJYANIYA HER HOLINESS SHRI MATAJI NIRMALA DEVI.

VH: You were a member of the music group Nirmal Sangeet Sarita. You played at a lot of pujas before our Mother. Now Nirmal Sangeet Sarita often perform at Guru pujas in Cabella. How do you remember these concerts? Could you share a story from the concert?

Before Nirmal Sangeet Sarita was put together, I had three RECORDED ALBUMS READY.
MOTHER NAMED THE FIRST TWO AS "ADI SHAKTI POOJAN VOLUME 1 AND 2." THE THIRD ONE WAS „PRERNA“ I WAS PREPARING TO RECORD MY 4 ALBUM „ROOHANI ROSHANI" WHEN......

Mother had asked Baba Mama to get in touch with me and listen to my compositions. Baba Mama approached me and told me that Mother had spoken to her and that She said that my songs had a lot of vibrations, so I told Her that "Yes, Mother, he is still untrained and therefore his voice quivers." I tried to explain to Baba Mama that Mother was referring to the flow of Chaitanya, and was not complaining about my voice vibrating. We both had a big argument, and then he said to me " Listen, She has asked me to become the Master of Ceremonies and to gather musicians to play for you, so that you can perform your songs to the whole world. So now, I am going to be your boss, and I will guide you when and how to sing.Thus began the first journey of the Nirmal Sangeet Sarita in 1987-88.

As I see more questions below, I will try to provide you with more direct answers. I guess the details you can probaly read in my forthcoming Book.
Yes, I am planning to write a book titled “Jewels of Joy“, where the Jewel are two types:
1)The priceless moments I spent with Shri Mataji &
2)Those that She created out of Her love - The Sahaj Yogis.

to be continue ....

Dear all
We are pleased to inform you that we have added to the broadcast two new albums. Both of them are gifts from last pujas. The first one is "Songs of Devotion" from Romanian collectivity. There you will find bhajans from the band Sahaj Group and Sangeet Lahari. The second album is "Love From the Heart" - a collection of music from United Kingdom, which was a gift of just ended Navaratri puja.

Sahaj Group Sahasrara Mantras

Sahaj Group Allah Tero Naam

Sahaj Group Kai Bal Gayee

Sahaj Group Ma Tere
Sahaj Group Pyar Bhare
Sahaj Group Bhavani Dayani
Sahaj Group Hasat Ali Nirmal Ai
Sangeet Lahari Hai Mata Mahan Apni
Sangeet Lahari Tanu Ishk Da
Sangeet Lahari Nato Chalka Na Gate

Wavewalkers - Let Colour Is

Vimala - Drive

Vibration - The Passing Storm

The Cast - The Day Down

Celli Quartet - Pachelbel Canon
Ciaram McLaughlin - Still Life Supreme
The Cast - Piper And The Maker
Cell Quartet - Gardel Por Une cabeza
Deborah Eckman - The Time Is Now
Casabella - Casabella
Last Biscuit - Ensemble Moses
Fari Bradley - Shri Durga

We have also added new song of Russian sahaja yogi Vladimir Ugodin - it is called "Mother come".

On the You Tube website you can also find new home video of Jeremy Clancy - "I feel so sorry for the rich man". The video- clip you can see here.

We would like to thank to all listeners for increasing interest for your radio and keep listening !!!!

Sahajaradio team

The First Generation - Interview with Dr. Nishi Pashnina (by Gita Pattison)

We uploaded another interview from "The First Generation" series.

You can find out more about our podcasts here (press Podcast).

The direct download for the interview is http://podcast.sahajyog.net/pattison/20080925_NishiPashnina.mp3

Sanjay Talwar - Singer of the Heart Part.1

Sanjay Talwar – the name on the stage of Sahaja Yoga which you cannot overlook. His voice and songs devoted to Shri Mataji is to be found on many CDs and cassettes. Sanjay Talwar is a „singer of the heart“ - his songs tell about love, relationship to Shri Mataji and belief in God. We play a few albums of his on our Sahaja radio. Sanjay has been a sahaja yogi for a long time, for more than 24 years, and he was in attendance at the birth of the music group Nirmal Sangeet Sarita. From 1986 to 2003 he recorded 17 audio recordings and 1 DVD. Shri Mataji Herself asked him to record songs for Sahaja yoga and Sanjay met Her wish. Here is the interview with the singer who has his „heart wide open“.

VH: What were your music beginnings like? How did you get to music and what attracted you most?

ST: I had music in me as a child, but I was just a bathroom singer. I was a bit popular in my college for singing film songs. I used to sing mostly sad songs. I used to feel a lack of love in my life, and I could not understand why I would become sad so often.I always used to be concerned about why some people suffered so much, paricularly when they were so nice and humble. I would often question my mother, as to why good people die sooner then the bad ones. I remember she used to have a tough time answering my questions. I myself suffered at the hands of the right-sided and dominating people ( there were many in my family), but I would found recourse in singing my hurt. It would somehow provide me with relief.

I ALWAYS FELT THAT MUSIC HAD SOME POWERS THAT COULD OVERCOME FEAR AND WEAKNESSES. Shri Mataji was the instant answer to my musical quest.SHE SHOWED ME THAT IT WAS JUST LOVE. She brought it out very gently and then began to nourish it with lot of love and compassion, while quielty opening all the obstructions in its path.This indeed was the biggest attaction for me. I was enjoying this sudden attention thoroughly.

VH: We ask every single musician how heshe has got hisher Self-realisation. Can you describe your story of the second birth for us?

ST: I was 29 when I met Shri Mataji. She instantly knew what I was going through, and I was quite shocked in the manner She started to take interest in me. I remember, it was on 04th July 1984, I was visiting London.

Now let me recollect .....

Shri Mataji had met me previously at my house, when she came as part of the Groom’s family to meet the Bride’s parents when the wedding arrangements were to be fixed between my sister and Shri Mataji’s nephew ( Mr NKP Salve’s son). This was way back in 1982. I remember Baba Mama also came with her. I was entrusted to look after Baba Mama. They would say that he loved his drinks, and I was asked to serve him the choicest of brands. That was the first time I met Baba Mama- in 1982. There was a tradition, that the bride’s family should please the groom‘s family, and that till the marrage took place, they were to be catered with full devotion and love. No one was to feel even slightly uncomfortable. Both my wife and I were entrusted with the responsibility to look after the Groom’s Aunt and Her brother, ie. Shri Mataji & Baba Mama. That was indeed the biggest luck of my life.I don’t think I was aware (at that time) of this great fortune.

Shri Mataji immediately took charge of both me and my wife, and started to tell us about Sahaj Yoga and its amazing powers. I began to wonder who is looking afer who? She would often tell my wife that she had a hot liver, and must use ice on it.Right from the beggining, Her attention was on my Vishuddhi. She started to work on my left Vishuddhi, as I used to stay very sad, and then She would ask me to sing some songs to Her. Baba Mama would silently sit and watch how She worked on me.

Now coming back to 04th July 1984, It was a date I will never forget.Shri Mataji had invited me to come and stay with Her in London, as by now my sister was married to Her nephew for 2 years already. I had this invitation from her pending for long.

Then one day, came the opportunity for me to transit London on my way to Toronto to work on some business I was starting with my elder brother. I remembered Shri Mataji’s invitation.Fotunately, I had a full day to kill in London, and I had no work that day. So I decided to call on Shri Mataji. I was informed that She was conducting a realisation programme in town. So I took the address and came to the programme. The moment I came in the hall, Shri Mataji noticed me, and ushered a few Yogis to make me sit right in the front. Then I saw a few Yogis taking positions behind me. She had just started the realisation, and I had walked in just on time.That was the day of my realisation.

Later that evening, Shri Mataji invited me to sit in Her car and took me home. She had cooked Tandoori Chicken, and very lovingly She fed me. It was just Her, Sir CP and myself. Then she told me about Sahaj Yoga and its great dimensions. I could not feel the vibrations then, so She worked on me. It was my Vishuddhi that was not opening up, and I was asked to repeat “ I am not guilty“. That is when, was the born the musician in me.

VH: You are the author of many songs on many albums, Shri Mataji has given you Her blessing and advice how to go on. How do you remember this cooperation?


I will need to meditate on this first, before I write anything, as it marks the golden period of my life. A good 8 long years with months of personal time with Shri Mataji.

I must say that the real musician in me, was born out of some of some miraculous experiences I had, in the presence of Shri Mataji.
She constantly nourished me with Her presence, Herself clearing out all my chakras.I will try to take you step by step towards its culmination to a wholesome experience. I hope through this sharing, it would pose a good case-study to many yogis, of Shri Mataji’s influence on a seeker.
One day Shri Mataji decided to build Her Pratishthan home in Pune. I remember, It was the winter of 1986. She was visiting Jaipur. My father asked me to accompany him to Jaipur, as he was the Leader for Delhi. Shri Mataji, the moment She saw me, she exclaimed that it was good that I came, as She needed me there. I could not understand, of what use I could have been to Her. It was actually the other way around. She knew that it was the right time I needed Her the most.I was actually going through a very bad turmoil in my family. Shri Mataji immediately took over. She asked me to accompany Her to Rajasthan and told everyone that She needed me to assist Her with a lot of work. Then she very sweetly asked me if I could drive Her to Rajasthan. I was delighted at the idea.

It was during this journey that the poet, singer & composer was born in me.

Let me go a little deeper into this part of the journey.It is very intense, and there are many moments of some very personal time and learnings I had from Her.

My first musical encounter with the Adi Shakti happened in the car, in which I drove Shri Mataji to the interiers of Rajasthan. It was a cold December morning of 1986. Shri Mataji had woken up early at the residence of Mrs Pardal ( Leader for Jaipur), and had sent word to me to get ready to drive her through the heart of Rajasthan, as She had fixed appointments with various house owners enroute to see their homes with Jharokas ( artistically hand crafted windows) for making her home – Pratishthan in Pune.I had woken up that morning with a severe stomach ache, and had a loose tummy. I did not want to miss the golden opportunity to drive Shri Mataji, and so I did not disclose my problem to anyone.

We left early morning, with my wife, Manish Singh and Mrs Pardal sitting at the back and Shri Mataji opting to sit in the front seat next to me.It was not just an ordinary journey, but really the journey of my life had just begun.

I had a small Fiat car with two bucket seats in the front. While Mrs Pardal ( Jaipur Leader), Manish ( he was the officiating cook of Shri Mataji) & my wife Aradhana squeezed in to the back seat of the car, Shri Mataji opted to sit beside me on the front seat and I drove off.Remember I had told you that I had an upset stomach that morning, and I decided not to tell anyone?. As I started to drive, my stomach started rumbling and then I was in pain. Shri mataji immediately asked me to stop the car, though I wasn't complaining. She got out of the car, and went across to a nearby medical shop and brought me some Ayurvadic tablets. She then asked Manish to fetch me some butter-milk. As soon as I had it, I felt immediately better. "Now", she said, "It is a long journey ahead, so why not have a song from you?"That was the first time ever, I got to sing in front of Shri Mataji.I asked Her: "Mother, what would you like me to sing". She said: " Sing any song you like". So I started singing "Hamein Tum Se pyaar Kitna.."

It was a romantic song from an Indian film. She interrupted me briefly and told me to try changing the words a little so that it could be directed to the Devi. I could not fathom what she meant, and I just stopped singing. She then gave me the words, which my wife started to jot down in the back-seat. Thus started a journey where Shri Mataji continued to give the words and I continued to sing them. The meaning that came out were simply divine. She would stop in the middle and asked everone in the car to check the vibrations. She then explained to me the meaning of the words. I shook my head, and said: " Yes Mother, this sounds great".. Can I do more such songs? "Yes", She said, "now you carry on making the songs as we drive along and make sure that what you are creating, is what the seekers will listen to, and take their Self Realisation". I was thrilled at the prospect. All this while mother kept her hand on my Vishuddhi from the back, sometimes mssaging my shoulders, and at times running Her hand over my back- agnya. She would occasionally ask me: "How does it feel? Don't you feel your voice opening up?" Yes!! Mother I exclaimed, I cannot believe this is my voice."

She had worked on my Vishuddhi for hours, as I drove.That day we drove for 12 hours non-stop, till we reached Makrana. Enroute, I saw a lot of miracles, which I would not like to talk about here, as I would be then transgressing from the the main topic. Thus were born my very first musical Sahaj Compositions. Shri Mataji, would always ask me: "Have you written something new?". So every time I had to be in Her presence, I had to make sure I had a new song ready. She would just call me and ask me to sing a new song, that I had written and composed.She would ask all the yogis to listen to the amazing songs and then She would explain the meanings. I was quite surprised that I had written almost 24 songs in just a few days, while being in the presence of Shri Mataji.We had some amazing experiences with Mother in that Rajasthan trip. It lasted for about 3 days. Finally we drove back to Jaipur. On the way She asked me if I could accompany her to Mumbai, as She had no one going with Her. I galdly accepted. She told me that I would have to sleep outside Her room, as She was staying in just a one-bedroon flat. She enquired if I would be comfortable. I was simply thrilled.

The day following our arrival back to Jaipur... I must share this with you....

to be continue …

Elizabeth Henshaw - Zephyr

Although the Australian music group produced their first album Zephyr 7 years ago, it still belongs to my favourite ones. I bought the album in Australia, thanks to the internet, but first I had heard it on a cassette from my sahaja friends. This album is really unusual – you can feel gentleness, love, creativity, spirituality and respect to the Divine Power. Why do I come back to this album after years?
Because nowadays the internet is such a mass medium that a lot of new sahaja yogis can hear the music which was created a few years ago. And Zephyr is still worth of attention. Not only for nice songs by Elizabeth Henshaw and members of her band but also for the singing of Kate Henshaw which gives the album inimitable atmosphere. Elizabeth lives in London these days and she answers my questions this way:

VH: What was your first experience with Sahaja yoga and self-realization?

EH: In 1986 when I was 15 my parents, John and Judy Dobbie, came to Sahaja Yoga and my brother and I made friends with the other kids in Sydney. These friendships were very strong and definitely helped to keep me committed to SY at that age. There was no 'moment' of self-realisation, but I believe that SY kept me grounded and on the straight path during tricky teenage years.

VH: The record has got two wrappings. The first one was perhaps for Sahaja yogis and I have known it was being sold at Ganesha puja in 2001. The second one is for selling all over the world and it was also put into the category of the world music. Why that change of wrappings?
EH: Zephyr is essentially a studio-based project which I started in 2000, when I decided that all the music I was writing for fun should really be recorded, produced and put out there. So I taught myself production, and evolved from being a classically trained pianist to becoming a composer, lyricist, arranger, producer, piano/keyboard player and programmer. I found talented vocalists and instrumentalists from a variety of musical backgrounds to come and record the parts I wrote out for them, as well as other lyricists to contribute. These were mainly all Sahaja Yogi professional musicians. With the first (self-titled) album 'Zephyr' finished and mastered, we had 1000 copies manufactured, which is what you bought at the puja originally.

I then sent these out to music publishers and record companies, and I was offered a music publishing contract in 2001 with Origin, who released the album commercially. It was the same recording, but we had to design a new cover and booklet. I then went on to write and record 'Flame' which Origin released in 2005. The combination of having a deadline but also total creative freedom works very well for me.

VH: I would like to pay attention on these songs:
Destiny – maybe the most played song on the Australian Sahaja radio. What is it about?
EH: 'Destiny' is essentially a 'seeking' song. The words came straight out of my subconscious - I didn't think about them! Luckily it works OK! For me the music always has priority over the lyrics. I think the music can transmit even more vibrations than the words sometimes. I wrote the music under a tree with a sheet of manuscript paper and pencil, out of my head: three vocal parts (in harmony) and the oboe part (expertly played by Jeff Lyons). Then I added all the other instruments (samples) in the studio.

VH: Sunrise – unusual and nice composition with Indian vocalizing and tables – mixture of western and eastern music. Really great example. How was that created?

EH: Yes, this is a fusion of some interesting elements; Baroque harpsichord, Indian classical vocals and tabla, rhythmic pop synth and bass. Kate's vocals were laid over the strings, bass and harpsichord, then Bobby Singh and Sumathi Krishnan came into the studio to put down tabla and indian-style vocals separately. We recorded a lot of Sumathi improvising, then I cut it up, chose the best bits and moved them around where they sounded best!

VH: Spiritus Sanctus – music text Hildegard von Bingen. Why did you use this topic?
EH: Hildegard von Bingen was a 12th Century female 'saint' who wrote theological, botanical, and medicinal texts, as well as letters, liturgical songs and poems. I used this text as it is about the Holy Spirit, and I like the sound of Latin! I wrote the double bass part first in a difficult time signature (played by jazz bassist Jonathan Zwartz). There are 10 beats in the bar, divided into different rhythms in different sections. The tambourine and harp add a medieval touch. This song has been recorded by a successful vocal group with my permission, and has always received a lot of national airplay on ABC radio in Australia, probably more than any other Zephyr track.

VH: The Comforter – I know the version which is simpler and shorter and is placed on the selection IPO. It is interesting how the song can be improved and recorded differently. Do you think musicians should record their pieces in different ways after some time?
EH: Every song can be produced differently, even so it can cross genres. The producer's job is therefore a very significant and rewarding one. I felt this song needed to be 'refreshed', and the recording standard needed to match the rest of the album.

VH: Red Earth – my heart is always vibrating when I am listening the sound of Australian didgeridoo. It symbolizes Mooladhara, the connection to Mother Earth, the base, the root. I consider it as the top of the album. The author is Michelle Shete and Kate Henshaw together with you. How can such a wonderful idea of celebration Mother Earth come?

EH: Red Earth directly represents Australia and its wonderful, vibrating natural beauty. This track was recorded in 1996 for a Sahaj film made by the Australians (that's why it's 11 minutes long!) and I love the inspiring lyrics written by my friends Michelle and Kate. Robert Webber does a fantastic job on the didjeridoo. My other friend Sarah Labade plays the cello part. Interestingly, at the recording session there were three girls: Kate, Sarah and I, and ALL of us were heavily pregnant! It was quite funny.

VH: What is new with your third album? When can we expect it?
EH: For the third album I would like to work more collaboratively with a variety of artists. The albums should evolve so that new musicians and their aspirations are featured as well. Everything I write is owned by the music publisher/record company, so basically I can't distribute my own music. When they decide to finance a third album, I will start recording!

VH: Elizabeth, thank you for this album, it is really fantastic…
EH: Thank you, Vlada for your time in spreading so much great music around the world. We all appreciate it very much!

LINK: http://www.zephyrlife.co.uk/

Santa Cecilia - In Your Hand Part.2

VH: I listened very carefully to the song Shiva´s Song and I heard the hint of „sami joik“. I know this style of singing from Mari Boine – I have several CDs of hers. Acoustic guitar is fantastic and the song wonderful. Can you tell me more about it?

SC: Shiva’s song is one of my favourites. It is a song that grows. And I never get tired of playing or to listening to it. This is a great gift from Shri Mataji.
The inspiration came when I was watching Indian dance. It is so beautiful to see how they use them selves when they dance. And I got the idea, why not write a song, and use the metaphor dance to describe life. And in Indian dance they really tell about life.
When I sing the song now I can see Shri Mataji dancing on the beach in Nargol.
I can feel how She is washing away all the negativity through her feet. How She is dancing, like the most beautiful queen. And She is never sleeping, always taking care of us. When I am composing a song it can have one meaning, but when it matures after sometime I can see a deeper meaning. The resemblance with Mari Boine and “joik” is not intentional. But I love her music. She is a great inspiration, and a major contributor on the global “world-music” arena.. “Joik” is wordless singing and a very natural, spontaneous art form. It is handed over orally through generations, sort of like Indian music. So perhaps there is a connection.

VH: You are the author of the majority of music and lyrics. Your lyrics are wonderful. I had never met anybody from the western world who would have so many feelings and much tenderness towards our Mother. How did your inspiration come for writing such lyrics?

SC: First I wan to tell you that before I came to Sahaja yoga I had some problems with my English. But in SY we are collective with people from all over the world, so we have to use English. It is like it is innate. Now it is almost natural for me to speak and write in English. It is sometimes even better to express some things in English rather than in Norwegian.
When you ask me about the inspiration for the songs, there is only one answer, Shri Mataji.
She has been guiding me all through the process. When I first met Shri Mataji (at Ganesha puja in Cabella 2003), something very, very strong happened. After the puja, there were marriages and the hangar was full. So I could not get in to where Mother was.
I had a wish to see Her one more time. So I went to one of the side entrances to the hangar. Suddenly I could hear a conch and there She was right in front of me. In a few seconds everything changed inside.
One moment I could see myself standing on a very big stage singing in front of a crowded audience. And in the next moment I was looking in to Mothers eyes, and I could see the whole universe.
After this experience I started travelling around the world with Shri Mataji on the pujas. It was like I could not get enough.

In 2005 I was at the Vaitarna academy. And the first day I was resting in my room. I could hear some students playing tabla downstairs. And suddenly in front of my feet, I could see Shri Ganesha dancing. And he was so happy. Like I was happy to be in Mothers house. While I was at the academy I had some very strong dreams. I remember in one of them Mother came to me. And She told me that I was Her voice, that I was Her instrument. Then She played the songs or the CD before it was made.
So first of all, Mother told me to do this CD.
There are many yogis who have been the source to the songs and the lyrics. Mother gave me everything I needed. She even let me meet people that could inspire me to write. It is so beautiful how everything is taken care of.
I am really very thankful to allot of people who have given me such strength and belief in myself. Most of all I thank Mother everyday, for allowing me to be an instrument for Her. It is all about Her love.

VH: The end of your CD belongs to the song Krupa by Arun Apte. Is there any cryptical meaning in it?

SC: The lyrics is a prayer and it means something like “Mother, please give your blessings. Help us to be in rhythm and tune with the divine. I wanted it to be on the CD I don’t know why. But I think it is important.

VH: You spent time in musical Academy in Vaitarna. How did the study of Indian music enrich you personally?

SC: The Vaitarna academy is very close to my heart. And my music teacher Arunji is like a father to me. He is not only teaching me music but also allot about life. To learn is about giving and receiving, and when I am at the Vaitarna academy I learn how to grow spiritually through the Indian music.
At Vaitarna, I studied music therapy. First of all, music therapy gives a direct connection with the divine. It really does. Whenever I do music therapy I become thoughtlessly aware. I can use it everywhere, and now it is built up inside of me.
Before I go on stage, I use it. Then I am so much more in balance and can be a worthy instrument of Mother.
Everybody can learn it. You don’t have to be a singer. After staying at the Academy for some months my subtle system was literally transformed and put in to balance.
It is such a great gift of Shri Mataji.

VH: Could you tell to our listeners some story from your sahaja life?

SC: When I came to Sahaja yoga in 2001, I had suffered from severe anxiety and depressions for many years. But after attending the first program, things started to work out. Because I had this positive reaction, I began meditating nearly the whole day for 3 months. There where only time to eat, sleep, doing workshops and meditations. I just wanted to get over my past conditionings and to be established in this wonderful reality. And it gave such belief and strength in me. I learned the entire cross mantras in two weeks, and I looked at videos of Shri Mataji almost every day. I remember that in the first dream I had with Mother, I was sitting on Her lap as a little child and She was reading me fairytales. She was there all the time. In my meditations, dreams always taking care of me. And She told me everything. If something were wrong or good. And if there were signs of doubt in me, She washed them away. I could never have done it without Mothers guidance, because there was a lot to work out. And Her support has been limitless ....

Like: For me it is very challanging to travel with airplanes, so I always travel with someone I know. So the first time I traveled alone to India, I felt extremely insecure being all by myself on the trip . When I came to England it was such a mess just getting to the next airplane. I had to ask one person at the check-in counter if she could help me to get my seat and to deliver the luggage. She started to print out the ticket. Suddenly something happened; my “low price ticket” was upgraded to “business class” without any extra charges.
After I got through the security check, I couldn’t find my credit card. And I went back to the security officers, but they couldn’t help me. I almost started to cry and I wanted to return home. Suddenly I could hear like a voice was talking to me: “Everything will work out, don’t worry”. And I felt so secure inside.

So I began walking towards the gate, and around the next corner Shri Mataji was there sitting in Her wheelchair with Sir CP by Her side. I was totally dumb folded; looking at Mother. I couldn’t believe my eyes. There was no need to say anything so respectfully I kept on walking towards the gate, to give Her some space. And after five minutes She was there again, sitting right in front of me. We where so close, that I could touch Her hand. And I knew that She knew, I could feel it strongly in my heart. The love, the compassion. So I just followed Her all the way on board the plane. And on the trip there were only a couple of seat rows between us. And I can tell you I have never felt so secure on a plane before. But it was strange feeling to sit so close to our Mother for such a long time. And I had to ask my self is this really happening to me.

VH: How is it possible to order your CD for our people here?

SC: If someone wants to order a CD for them selves or distribute in their local centre/ area just mail us and we will make the necessary arrangements. Price for the CD is: 15 € + Porto. The mail address is: [email protected]

SO NEAR

I love You more than words can tell
Behind the wall
Behind the waterfall
I love to hear the sweetness in Your voice
For all that we share

Knowing that You are so near
Knowing that You are everywhere…everywhere

I love the way You care
About everyone who is here
I love the way You share all the beauty
All the endless love that make us grow

Knowing that You are so near
Knowing that You are everywhere…everywhere

Loving You more than words can tell
Loving You each and every day

Knowing that You are so near
Knowing that You are everywhere…everywhere

I love You more that words can tell
Beyond the the time, beyond every day

Link: http://www.myspace.com/santacecilia