Joined: 27 June 2005
When we think of ghost songs filled with a unique haunting element, the song "kahin deep jale kahin dil" will be one that will easily have hairs stand on ends! I can relate to the experience. When I was four years old, I used to bug my parents to read me a bedtime story, they said, "listen to this." It was a tape called "Suspense" which had Lataji's ghost or haunting songs from films. The first song used to scare me. "oooooooooooo....."
This song was composed by Hemant Kumar for the film Bees Saal Baad. The film was about a man searching his history of strange deaths. His grandfather (I think), raped a woman, and after she died, her soul continously haunted his family. The song "kahin deep jale kahin dil" has a few interesting facts.
Around the mid-1960s, Lataji had a voice problem that almost would have ruined her vocie forever. She took time off and did not sing for some time. Many anti-Lata music directors were happy of her absence. Hemant Kumar used her voice as a come-back to the playback industry. Hemantda like one of the rehearsal takes of the song, that he used it in the final.
Many people claim this song as a Sivaranjani raga song. People claim to place the Sa of the song on the word "ra" in zara dekh le aakar, the word "dil" would get komal ga. The trend of the song places way too much emphasis on komal ga that it looses its Sivaranjani feel.
If you listen to the tabla sur (the pitch of the tabla), you will see it is tuned to the word "dil." In tabla, you tune the dayan (high pitched drum) to the tonic (Sa) of the song. If you equate Sa to the word "dil," then you will see that the most haunting note appears when Lataji does the "ooo" part. The komal re in the tar saptak (upper octave) appears. The sruti (microtone) is slightly sharper than the typical komal re. This slightly sharpened komal re is a treat from the Marwa That raagas.
With a swar set of S G M D N S' and r used sparingly implies this raga is Sohini. You don't get the same effect with suddha ga going toward komal ga. In Lataji's 1988 concert in London, you can hear the musicians tune their instruments according the Sohini scale and not Sivaranjani scale.
Hence, this is a song in Raga Sohini.
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