Laila Majnu · 1976
Is Reshmi Paazzeb Ki Jhankar
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
Bhairavi
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.375 (PDF p.39)
Source wording: “‘बर्बाद-ए-मुहब्बत की दुआ साथ लिए जा’ (रफ़ी), भैरवी में रचित ‘इस रेशमी पाजेब की झंकार के सदके’ (लता), ‘अब अगर हमसे खुदाई भी खफा हो जाए (लता, रफी) और कव्वाली होके मायूस तेरे दर से सवाली ना गया’’, (रफ़ी, अजीज, नाज़, शंकर-शंभु, अम्बर कुमार, साथी) जैसे गीत गली-गली में लाउडस्पीकर पर गुँजे।”
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.