Dr. Shrikaanth K Murthy

Carnatic composers (other than performing vidwans)
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abadri
Posts: 183
Joined: 08 Jun 2005, 00:04

#1

Post by abadri » 27 Jan 2006, 23:51

A photo of the composer, Dr. Shrikaanth K Murthy

Image
Dear Folks,

I'm opening this thread for us to discuss our own DRS' compositions, with his permission and that of others.
This'll help us keep all the discussions related to DRS' works in one place instead of in multiple related threads.

Let's start off with his composition in the rAgA dES
(lyrics and meanings provided by DRS in the desh thread)

A kRti in Desh composed in April 1999
http://rapidshare.de/files/11824520/kam ... y.mp3.html

rAga- dES, AditALa, Own composition

kamalAmbikayA kaTAkShitOham |
kAmitadAyaka kalpalatikayA ||P||

kamanIya suguNavATikayA daSa- |
gamaka varNAbharaNa pETikayA ||
kamalajAnanda bOdhOtsukayA kAdi hAdi mantrAtmikayA SrI ||AP||

nakhOtpanna haridaSAvatarayA |
naya ghana dESI rAgAdarayA |
akhaNDa karuNArasa sAgarayA |
abhayavarapradakarayA varayA ||
makhESa SrIkAntAdivinutayA mAyAkalanA pArangatayA |
akhilAgama nigamOdghOShitayA AtmavidyA prakASitayA SrI ||C||


rAga- dES, AditALa

kamalAmbikayA kaTAkShitOham- I have been graced by the benevolent sideward glance(Look) of kamalAmbikA;
kAmitadAyaka kalpalatikayA- By Her Who is the wish-granting tree/creeper;

kamanIya suguNavATikayA-By Her Who is a garden of all qualities beautiful and graceful;
daSa gamaka varNa AbharaNa pETikayA- By Her Who is a jewelbox filled with the beautiful ornaments of the 10 gamakas and varNAlankAras of music.
kamalajAnanda bOdhOtsukayA-By her Who is keen on teaching brahmAnanda;
kAdi hAdi mantrAtmikayA-By Her Who is the soul/essence of the kAdi and hAdi mantra of SrIvidyA; SrI

nakhOtpanna hari daSAvatarayA- By Her from Whose fingernails arose the 10 avatAras of viShNu;
Recall karAnguli nakhOtpanna nArAyaNa daSAkRti from the sahasranAma
During the battle with bhaNDAsura, bhaNDa used the sarvAsurAstra which gace rise to rAvaNa, bali, hiraNyAkSha etc. dEvi in turn gave rise to matsyAdi 10 avatAras of viShNu to check these evil forces. There are also otherinterpretations.
We also have "karAnguli nakhOdaya viShNu daSAvatArE" in MD`s ghaNTA navAvaraNa kRti.


naya ghana dESI rAgAdarayA- Her Who respects/regards naya ghana and dESI rAgas alike. Note the rAgamudre here;

akhaNDa karuNArasa sAgarayA- By Her Who is an unending/unbroken ocean of compassion;
abhaya varaprada karayA-By Her Who frees one from fear and grants boons;
varayA- By Her that is best/eminent/lofty;
makhESa SrIkAntAdi vinutayA-By Her Who is eulogised by indra and SrIkAnta(ViShNu);
(indra is the Lord of sacrifices. He performed a 100 sacrifices and became Satamakha and makhapati)

mAyA kalanA pArangatayA-By her Who is beyond all illusion and illusory incitement/behaviour;
akhila Agama nigama udghOShitayA- By Her Who is praised full-throatedly by the vEdas and Agamas;
AtmavidyA prakASitayA- By Her Who is revealed by AtmavidyA/SrIvidyA;
She is called AtmavidyA in the sahasranAma; SrI

----

There was also another composition of his "bEkkasa" which was discussed in the thread on
Mysore Maharaja's kritis. srkris, can you please help retrieve the relevant material? Thanks in advance.
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Raja Chandra
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#2

Post by Raja Chandra » 28 Jan 2006, 00:13

badri,

you can find the discussion on bekkasa beragAdenalla at Jayachamaraja Odeyar (Mysore Maharajah) - Part II; page:6


rAga-vamSavati, rUpaka tALa, composition in kannaDa;

bekkasa beragAdenalla |
pELalu bAy toDaritalla ||P||

cokka kauShikESa ninna |
sogayipa cariteyanAlisi ||AP||

akkasadindali lalanege | akShaya maDi ittu porede |
rakkasa vamSava tiNukisi | rAvaNana SiragaLa korede |
bokkasa nIDidare bharadi | poDavi bAnanaLedu merede |
kakkulAti nIgalu SrIkAnta nInu gIte orede ||C||
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Raja Chandra
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#3

Post by Raja Chandra » 28 Jan 2006, 00:14

And the meaning for bekkasa beragAde. I have given a translation in tamizh as well as it is difficult to capture the spirit in English at times.

bekkasa beragu Adenalla- Am I astonished! (miga viyandEn anRO)
pELalu bAyi toDaritalla- I became tongue-tied when I try to explain! (sollap pOnAl vAy aDaindadanRO)

cokka kauShikESa - O handsome Lord of kauShika (ezhilmigu kauShikattu IsanE)
(kauShika is a holy village in Hassan Dt. The Lord lakShmIkESva is the patron deity of the sankEti community. It is also a pancalinga sthala. The name comes from the belief that sage viSvAmitra performed penance here)

ninna sogayipa cariteyanu Alisi- On hearing of your wondrous deeds/nature/disposition (undan sogusAna sarittirattaik kETTu)- I am astonished and tongue-tied!

akkasadindali- With boundless compassion; lalanege- to the beautiful lady;
akShaya maDi ittu porede- You gave limitless/unending cloth/sarry and protected her.
(kaninvuDan nI kArigaikku aLavilAt tugilai aLittuk kAppATRinAy.)
Actually akkasa represents a mixture of compassion, urgency and anxiety (padaTRattuDan kUDiya kanivu)

rakkasa vamSava tiNukisi- You made the race of rAkShasa/demons to suffer;
(arakkar kulattai vATTi vadaittu)
rAvaNana SiragaLa korede- You cut off the 10 head of rAvaNa (irAvaNanin sirangaLait taRittAy)

bokkasa nIDidare- When you were offered the treasury
bharadi poDavi bAnanu aLedu merede- With great pomp and ado you measured the earth and the sky;
(karuvUlattaik kATTinAlO nI adai viTTu ivvulagaiyum vAnaiyumE aLandAy!)
This refers to the bali episode.

kakkulAti nIgalu SrIkAnta nInu gIte orede- O SrIkAnta! To remove of indecision/confusion, you instructed/taught the bhagavadgIta.
(SrIkAntanE! manakkalavarattai nIkka nIyO gItaiyai uraittAy)

viyakkattagu nin magimaiyai ensolvadu!
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kiransurya
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#4

Post by kiransurya » 28 Jan 2006, 05:12

DRS
Can you give us the link for krithi in Vamsavathi? Its a very rare raagam (to the best of my knowldge, only dikshitar composed in it) so would be good to listen your composition in it
Thank you
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drshrikaanth
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#5

Post by drshrikaanth » 28 Jan 2006, 05:33

kiransurya, here is the vamSavati kRti

http://rapidshare.de/files/11982347/bek ... h.mp3.html
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drshrikaanth
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#6

Post by drshrikaanth » 28 Jan 2006, 07:06

I begin by invoking gaNapati for his benign grace and blessings on this auspicious friday.
A piLLAri/lakShya gIte in praise of the remover of all obstacles .

rAga malahari, caturaSra rUpaka tALa, language-sankEti

S R | S, R S || D#, S R S, || P, | D P M G || R G | R R S, ||
pari---pAli sa--dA sumukha pA-DaraSiSu paDe-li-raka

P, | D D S* R*|| R*S*| D, S*, || D S*| D D P, | M P| M G R S ||
kal-piya-ra gu--ru-vu nI-nE kalu---vara vi---dyu nI---nE- (1)

pATu toDagara suvELa | phalipiya pArvatibALa ||2||

SrIkAnta vinuta pAdA | SritajanapAlana mOdA ||3||


Meaning
O sumukha! Ever protect this child who sings by being with him/her.

You are the guru that teaches. you are the knowledge that is imparted/learnt.

O son of pArvati! Bring to fruition this good moment in time when lessons are being commenced.

You Whose feet are worshipped by SrIkANta! You Who revels in protecting your devotees, kindly protect this child.

I will post the recording tomorrow.
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abadri
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#7

Post by abadri » 28 Jan 2006, 07:16

DRS,

Thanks, awaiting the recording.

>> kalpiyara guruvu nInE kaluvara vidyu nInE <<
Beautiful! Simple but profound!!

Is there a rule you follow regarding weaving the rAgamudrA into
your compositions? The other two kritis had them, but this gItam
doesn't.

Also when possible, could you give us any background stories relating
to your compositions? It will give us "behind the stage" look at a
composer at work - the closest that ordinary folks like me can get
to creativity :)

Thanks
-Badri
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cmlover
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#8

Post by cmlover » 28 Jan 2006, 08:11

well done folks!

I take great pleasure in welcoming Dr Srikaant K Murthy who has agreed to share his valuable musical compositions with all of the Rasikas at this Forum. His immense knowledge and scholarship are already on display at the HH JC Wodeyar thread of which he is the sole architect.

He has graciously contributed most of the lyrics with musical renderings by noted performers as also complete interpretaions with puranic and philosophical citations and above all the musical idioms in context. The discussions have been embellished by our indefatigable donor coolkarni as also by many historical insights into the life and reign of the Royal Composer Wodeyar by Raja Chandra. Also special thanks to our web master Ramakrishnan for recreating the complete thread after a disasterous computer debacle. Pl visit the thread and enjoy the hitherto undiscovered splendour of CM in rare ragas and compositions by a King that flourished in Karnataka during the 20th century.

Dr Murthy is a great scholar and linguist (his seminal contributions to establishing Sanketi as a living independant language is well-known)and also a musician and musicologist. It is our privilege that he has agreed to share his treasures at this forum and I wish to thank him on all your behalf. Pl participate actively in these discussions and your contributions are equally vital for expanding our horizons in CM and also to show that we appreciate, honour and respect our vaggeyakarakas both old and new alike.

Dear DRS
(Pl provide a brief biographical sketch as well a portrait!)

A warm welcome to you on behalf of all of us! And let me also invoke as mangaLacaraNaM

shrIkaanto mAtulO yasya jananI sarva ma^NgaLA
janakO shankarO dEvaH tam vandE kunjaraananaM ||
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cmlover
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#9

Post by cmlover » 28 Jan 2006, 08:26

BravO DRS!
Already lambOdara has been invoked by the indubAlA!

Nice to have the musical notations! Await your rendering too! Also as Badri suggests give us the date as well as the circumstance when this was composed. Again give us if possible word for word meaning by which we may be able to gain a smattering of Sanketi!
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kiransurya
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#10

Post by kiransurya » 28 Jan 2006, 13:51

DRS, CMLOVER, ABadri, Coolkarni and Raja
Iam so lucky to bump into this forum. You insights into music is amazing BTW, what are the roots of sanketi? Is it close to kannada? Would like to know more about it. DRS, any compositions in sankskrit?. Awaiting your audio on above krithi, because I dont know the correct pronounciations in this language.
many thanks
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cmlover
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#11

Post by cmlover » 28 Jan 2006, 21:01

DRS

a related query. Are you the first to compose CM in sanketi? I have never heard any kriti in that language at concerts.

Could I take the liberty and suggest to emend (the praasa) the last line as:
'paTu SrIkAnta vinuta ' (worshipped by the clever (scholar) SrikAnta! (if the language permits such usage...).

Is there a particular reason GanESa is called sumukha?
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kiransurya
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#12

Post by kiransurya » 28 Jan 2006, 22:18

As far as I Know, Ganesha is called so because of what his face represents and symbolises. Big ears are for imbibing all the knowledge, Tusks are for assimilating it, so and so forth. Thats what i have been told.
would be good to see how other explain it
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drshrikaanth
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#13

Post by drshrikaanth » 28 Jan 2006, 22:22

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cmlover
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#14

Post by cmlover » 28 Jan 2006, 22:34

Superb DRS!

You are not only a composer and performer but a good teacher too!

This lyric is great for teaching the first lesson in Music to novice students!

Too bad 'abhinava purandara' title is already taken ;-)

Thank you!
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cmlover
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#15

Post by cmlover » 28 Jan 2006, 23:22

DRS

Your shruti alignment is super perfect! This is no idle accolade! I just analyzed using my Fourier Software.

aadhara Shadjam 127 Hz (you are slighly below 1 kaTTai)
shuddha riShabham 137 Hz (theoretically expected (equal temper scale) 135 Hz)
shuddha madhyamam 170 Hz (theoretically expected 170 Hz)
pancamam 194 Hz (theoretically expected 190 Hz)
shuddha daivatam 202 Hz (theoretically expected 202 Hz)
tAra Shadjam 259 Hz (theoretically expected 254 Hz)

A mazing!
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drshrikaanth
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#16

Post by drshrikaanth » 29 Jan 2006, 00:00

DRS, CMLOVER, ABadri, Coolkarni and Raja
Iam so lucky to bump into this forum. You insights into music is amazing BTW, what are the roots of sanketi? Is it close to kannada? Would like to know more about it. DRS, any compositions in sankskrit?. Awaiting your audio on above krithi, because I dont know the correct pronounciations in this language.
many thanks
kiransurya
Iam giving the link to my article in wikepdia on sankEti. Hope that gives you a good introduction to the sankEti language.

http://en.wikipedia.org/wiki/Sanketi_language

As for pronunciation guide, i am cutting and pasting from a previous post of mine in the oDeyar thread.

For the sake of clarity and to avoid any confusion, I am posting the code (script) I have used to write sAhitya phonetically.

a A i I u U R E ai O au an aH |

k kh g gh ~g |

c ch j jh ~n |

T Th D Dh N |

t th d dh n |

p ph b bh m |

y r l v/w S Sh s h L kSha ||


When the letters "~g" & "~n" occur as the first consonant of a sajAtIya ottakShara/dvitva i.e paring with other consonants from heir own group of 5 ,such as a~gga or ka~nja, I have replaced it with a bindu "n" thus writing them as anga & kanja. But when they occur as a second consonant or in combination with consonants from other groups, I have retained them as they are as otherwise they wil not be pronounced correctly e.g Aj~nA, J~nAna, vA~gmaya. However in case of N and M, I have stuck to these letters as they are quite distinct in pronunciation and also occur independently in their own right. V and W are used interchangeably.
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drshrikaanth
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#17

Post by drshrikaanth » 29 Jan 2006, 00:07

DRS,

Thanks, awaiting the recording.

>> kalpiyara guruvu nInE kaluvara vidyu nInE <<
Beautiful! Simple but profound!!

Is there a rule you follow regarding weaving the rAgamudrA into
your compositions? The other two kritis had them, but this gItam
doesn'. ....
-Badri
I usually incorporate the rAgamudre into my compositions. If I compose more than one kRti in a rAga, I weave it in one of them. But there are times when the rAgamudre is left out simply because I had not thought of it at the time of composing or I think it superfluous. In this case, the simple lyric in an Arambha pATa (beginner`s lesson) precluded the use of rAgamudre. Weaving the rAgamudre can be very exacting at times and acts as a hurdle to an otherwise smoth flow in ones thoughts. But obsessive that I am, I often get caught in it.

I will try and mention of the background if there are any, if I can remember and if they can be mentioned. ;)
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drshrikaanth
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Location: Maidstone, UK

#18

Post by drshrikaanth » 29 Jan 2006, 00:16

DRS

a related query. Are you the first to compose CM in sanketi? I have never heard any kriti in that language at concerts.

Could I take the liberty and suggest to emend (the praasa) the last line as:
'paTu SrIkAnta vinuta ' (worshipped by the clever (scholar) SrikAnta! (if the language permits such usage...).

Is there a particular reason GanESa is called sumukha?
Yes. By God`s grace, I am the first one to compose metred poetry and classical(Carnatic) compositions of various genres in sankEti (at least AFAIK). Of course there are sampradAya/traditional songs in the language.

I will try and give word for word meanings.

As for me being indubALa, actually I am padminIkRShNamUrtisuta and indusahOdara. I know why you mistook me for indubAla. It was my sister who registered with the forum and my pother posted under her ID.
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Raja Chandra
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#19

Post by Raja Chandra » 29 Jan 2006, 00:23

DRS,

Hope this small note on the origin of Sankethi?s will meet your approval !

Once upon a time, hundreds & hundreds of years ago, there lived a group of ?Brahmans? in a town called Sankota / Sangottai in Tamilnadu. It seems that these Brahman families were a part of the largest sect called Iyers. However, they were highly knowledgeable people, proficient in Sanskrit, Vedas, Upanishads and Shankaracharya?s philosophy of Advaita.

Once in a ?Sabha?(Congregation of Brahmans), one Acharya made a mistake while reciting a Shloka.One lady boldly pointed out the mistake. But this challenge was not taken lightly. She was punished for being arrogant. The punishment was that she has to serve food to the Brahmans clad in a saree coated with chalkstone. Every body was well aware of the fact that because of the special coating the saree would be very slippery and will not hold. The lady, angered by the humiliation meted out to her, took up the challenged and conceived a new way of tying the saree which would be held in place with a knot. This saree is traditionally called as ?Gandi Saree? (Gandi probably standing for ?Gant? meaning ?Knot?)

However, she came out of the episode with flying colours & teaching all the Brahmans a lesson. She also cursed them by saying that the land, which they presently occupied, will not bear any crop. This had serious repercussions on the community itself.

She also announced her intention of leasing the land. She had a good number of people following her. Thus the community was divided into two. One group settled in the region called ?Koushik? and the other is "Bettadapura".

The Koushikas concentrated mainly on farming & vedic studies. The Bettadapuras, on the other hand, aspired and acquired highly respectable positions in the Kings' courts, Government offices and such other professions. Both were highly revered by everybody. Slowly their expanse widened to other places like Ramanathapura, Agrahara, Rudrapatra, Mosale, Saligrama(K.R.Nagar Taluq), Thansoge, Mattur, Hosahalli, Lingadhalli etc. Most of these places are situated is the Hassan & Shimoga Dist. Even today we find many names which identify the family person with the place of their origin ? where many generations were born like:

R.K.Srikantan ? Rudrapatra Krishnashastri Srikantan

H.S.Ramesh - Hamoge Shrikantan Ramesh.

S.S.Seetharama Rao- Saligrama Subbaraya Seetharama Rao.

As evident the birthplace comes first, then comes the father?s name and then the name of the person himself.

The societal norms were patriarchal. Girls did not get much in terms of formal education. They got married at a very early age between the age of 12-18, in fact sometimes it was child marriage. They had very limited needs and wants, in fact it is said that in the early days they lived in abject poverty.

Any communication between the two sub sects was discouraged.

The journey from those days to today has been long, hard and tedious. But today, we are spread not only throughout India but in other countries too like USA, Australia, Singapore, Canada to name a few. Even today we are considered as a highly intellectual community. In terms of vocation we see families devoted to farming on one hand and on the other hand people holding high positions in Government organizations. There is no dearth of Entrepreneurs too who have world-class manufacturing units. Music was also viewed favourably. It is matter of pride that some of the greatest musicians of Carnatic classical, both vocal & instrumental, belong to this community.

from: http://www.sankethi.com/history.htm
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drshrikaanth
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#20

Post by drshrikaanth » 29 Jan 2006, 00:26

I have some thoughts on why gaNESa is called sumukha. Of course you know that sumukha occurs in gaNESa/gaNapati sahasranAMa. su as a prefix means "good, auspicious, supreme, excellent" etc. It can also mean "to urge, incite, impel, distil, possess supremacy". mukha, apart from the common eaning of face, also means beginning, vanguard. And in a particular setting, it also means "original cause/source". Thence sumukha can be taken to mean "good/auspicious beginning", "excellent vanguard" and "the original cause/source of inspiration".
And among all Gods, I think gaNapa has the cutest face. Not necessarily handsome, but certainly cute and heartwarming.
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cmlover
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#21

Post by cmlover » 29 Jan 2006, 00:49

Thanks RC for that fascinating history! Is the Sankota referred to the same shenkOTTai in TN which was erstwhile part of the Travancore Kingdom?

DRS

The dictionary (Apte) gives 'sumukha' also the meaning of garuDa as well as Siva! But in the naamaavaLi it is always associated with ganESa. Vishnu was never addressed by that name!
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drshrikaanth
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#22

Post by drshrikaanth » 29 Jan 2006, 00:51

Raja Chandra
Thanks for posting the article. Here is the link to my article on the sankEti people in wikipedia.

http://en.wikipedia.org/wiki/Sanketi_people

As for the curse by nAcAramma, the version you have posted does not tell the full story. nAcaramma and her husband and their only son lived in dire poverty. They wsihed that their son at least would see better days. To this purpose, they decide to prepare the extract of the jYotiShmati plant(gangonge eNNe in kannaDa) in accordance with the rules prescribed in the SAstras. The SAstras say that after consuming the jYotiShmati taila one in the family will die, another will go mad and the third will become extraordinarily brilliant/intelligent. The couple took the taila thinking the son will become intelligent, SrI nAcAramma would die and her husband would become mad. But God willed otherwise. the son died, the husband did become mad but the sAdhvi nAcAramma became extraordinarily brilliant, much to the jealousy and envy of others, particularly the menfolk.

During the son`s final rites, she had to serve ghee(abhigAra) wearing a new saree as is the custom. These menfolk decided to teach her a lesson and gave her a new saree smeared with finely powdered limestone. Realizing the trick, nAcAramma quickly tied the saree and held it in place with 2 knots (ganDI cIra/daNDI cIra[i/]) and cursed the people and their village.

The culprits, realizing their mistake, begged her to forgive them. As all great people, she advised them to leave the village within a stipulated time and also promised them to herself lead them to greener pastures. This place near sengOTTai is called SApattUr and to this day, only weeds and shrubs grow here although the surrounding areas are lush green. this led to the exodus to karNATaka about a thousand years ago.
Until a few decades ago, sankEti women used to tie their saree as gaNDIcira. There are hardly any who tie their saree in this manner today.

I have also composed a folk style song in sankEti narrating the story which I will be posting later.
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drshrikaanth
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#23

Post by drshrikaanth » 29 Jan 2006, 01:28

The folk song is here

Please wait until I post the full version. I have missed a couple of caraNas in the one I posted earlier.
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cmlover
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#24

Post by cmlover » 29 Jan 2006, 01:34

Lyrics please (and meaning too! if you please!)

Sounds like cakravaahaM! am I right?
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drshrikaanth
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#25

Post by drshrikaanth » 29 Jan 2006, 01:40

vakuLAbharaNa sung in madhyama Sruti. There are some anusvaras suggesting N3. Will need a little while to post lyrics and meaning.
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