Anuradha · 1960
Haye Re Wo Din Kyun Naa aaye
Hindi-film eligibility matched; song credits may still need checking
Sources differ: Janasamohani, Kalavati and Mishra Kalavati are separately reported. RagaPedia has not resolved this difference or verified a multi-raag treatment of the recording.
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
Janasamohani
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.
Evidence: Named musician's analysis · Amrita Dutta, doctoral thesis (University of Delhi, 2018), ch.3, printed p.343 (PDF p.172), §3.3, film item 15, song/table row 3
Source wording: “गीत के बोल : हाय रे वो दिन क्यों ना आये; गायक कलाकार : लता मंगेशकर; प्रयुक्त राग एवं ताल : जनसम्मोहिनी, रूपक ताल।”
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.
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
Kalavati
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.
Evidence: Named musician's analysis · Sakshi Sharma, doctoral thesis (University of Rajasthan, 2025), ch.4, printed p.159 (PDF p.19), राग कलावती पर आधारित फिल्मी गीत, table row 2 (numbered list)
Source wording: “2. गीत–हाय रे वो दिन क्यूं ना आये फिल्म–अनुराधा (1960) संगीत निर्देशक–पंडित रवि शंकर”
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.
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
Mishra Kalavati
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.
Evidence: Named musician's analysis · Sakshi Sharma, doctoral thesis (University of Rajasthan, 2025), ch.5, printed p.309 (PDF p.91), हाय रे वो दिन क्यूं ना आए analysis paragraph
Source wording: “इस कारण इसे मिश्र कलावती कहें तो अतिशयोक्ति नहीं होगी।”
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.