Dil Ki Rahen · 1973
Apne Suro Me Mere Suro Ko Basa Lo Ye Geet Amar Ho Jaaye
Hindi-film eligibility matched; song credits may still need checking
Metadata references
Release and credit references do not establish a raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary or taalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary attribution.
Reported raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Khamaj
A named writer on music analysed the song in this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary. This records what the source says; a musician has not checked the recording note by note. The source quotes Pankaj Rag, Dhunon ki Yatra.
Evidence: Named musician's analysis · Suneel Kumar Gupta, doctoral thesis on Madan Mohan (Banaras Hindu University, 2015), ch.7, printed p.346 (PDF p.10)
Source wording: “ाचे’’ (मन्ना डे) और ख़माज के सुरों को लोकर ‘अपने सुरों में मेरे सुरों को बसा लो’ (मन्ना डे, उषा मंगेशकर) जैसी सशक्त रचनाएँ थीं, तो दूसरी ओर आधुनिक अंदाज में बेहद कशिश-भरा ‘fंज़दगी के ग़म भुलाने के लिए शराब का सहारा मैंने लो लिया’ (मन्ना डे) यह रचना तो मदन मोहन की पसंदीदा रचना थी”
Need the attribution logic? Read how film-song raags are identified.
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.