Kashmir Ki Kali · 1964
Haay Re Haay, Yeh Mere Haath Mein Tera Haath
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
Sarang
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 as an influence rather than a strict identity. This records what the source says; a musician has not checked the recording note by note.
Evidence: Named musician's analysis · Rajan Parrikar, Hindustani raag articles, The Sarang Family — https://www.parrikar.org/hindustani/sarang/ — paragraph opening: “Who better than O.P. Nayyar to represent the folk music of Punjab”
Source wording: “Who better than O.P. Nayyar to represent the folk music of Punjab which draws liberally on the Sarangs? An Asha-Rafi romp from KASHMIR KI KALI (1964); Lyrics, S.H. Bihari: hai re hai.” · Applies to: influence
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Attribution sources
Recording cues
No phrase-level timestamp has been expert-reviewed for this attribution yet.