Film : Pati Patni.

Singer: Lata Mangeshkar. 

Composer: R. D. Burman. 

Lyricist : Anand Bakshi. 

Actually, all it started with Burman Dada's refusal.
The offer rejected by senior Dev Burman was then happily accepted by the junior and rest is the history. R D Burman recorded his first song for Chhote Nawab with Lata Mangeshkar as he always wanted. 'Ghar aaja ghir Aaye Badra Saawariya' was quite an exquisite beauty. Four years later, Pancham again composed for one more film of Mehmood - Bhoot Bangla - wherein he debuted as an actor/comedian too. For Bhoot Bangla also Pancham weaved a beautiful breezy melody in Lataji's saccharine voice - "o mere pyar aaja..".

1966 was quite a significant year in R D Burman's career. The legendary composers of golden era were so confident about the melody in their compositions that they hardly cared to spare their precious hours to compose long preludes, interludes and postludes. And then entered R D Burman who brought 'sound' to fore - says a musical friend Kunal Desai. A big array of instruments having splendid percussions and stunning brass section. His music in Nasir Hussain's Teesri Manzil changed the complete scenario of HFM for years and generations to come. Emboldened by the success of his experimentations in Teesri Mazil, Pancham strided with the same rambunctious style akin to his signature. But, at the same time, or say, throughout his career, he composed some supremely soothing and sublime melodies too, which mostly went into Lata ji's lap.
Teesri Manzil was all Aashaji and Rafi sahab with Pancham's scintillating score. But in the same year, in his third persistent film with Mehmood, he created one more nectarous lilt with Lata ji again.
Kajre badarwa...

Film was Sanjeev Kumar and Nanda starer Pati- Patni which also had quite a hilarious parallel track of Om Prakash ji, Leela Mishra, Mehmood and Mumtaz. A highly underrated soundtrack covering various genres in an astonishing way. Still, Kajre badarwa was probably the only popular song from this amazing account having all outstanding numbers.

To me, this song is sheer grace. One of the sweetest renditions by Lataji and one of the best rain songs ever composed in HFM.
What an ethereal prelude! Starts with oh-so-sweet notes of flute. Let's imagine the flute as the beautiful wind. And then enters the hero of the song - Santoor - at its fullest and finest allure to represent that mighty rain on screen. Oh yes, this is not just a Lata solo. You would see, this one is a Santoor-flute duet enhanced with Lataji's rendition and other instruments.

Beautifully picturised! Missing such simplicity from 60s's movies. Nanda. So graceful and comely! Inviting sound of thunder.. and no wonder she rushes to the terrace. Flute accompanies her along with milder sound of Santoor. Remember, Santoor represents rain here and she has yet to reach to it. She can listen it if distant, but she needs to get closer to feel it. So, mellow. Superb!

Now, she is there. At her terrace. Camera alternatively moves to her and to marvelously raining sky. Santoor at its zenith, creates here the same effect that first rainfall of the season could create to an awaiting soil. And what a force! Each strum on Santoor evokes an undefinabe effect and you feel your heart getting dewed with delight.
How she seems loving that lovely wind playing with her hair and saari and those nauthty raindrops wetting her face and palm. All it stops with swarmandal notes. And now it's her turn to reciprocate..
Kajre badarwa re...
She repeats and the rythm starts with dholak and shakers.
But why she turns right after that?
Oh!! Poor rain. How much it sweated out and beneficiary is the one beaming in the photo frame! Fresh and fledged Haribhai.

Rain is the only season which actually touches all your senses. It overwhelms you, mounts your wishes and desires. Be it a pinning Yaksha at Alkapuri or a surged damsel at her balcony, clouds make them convey or confess uncontrollably.
Anand Bakshi's adorable lyrics floats through the enticing voice of Lata ji...

Kajre badarwa re
Kajre badarwa re
Marzi teri hai kyaa zalimaa
Aise na baras zulmi
Kahe na dun kisiko mai balamaa..

Such a slushy yet subtle way to express an frenzied urge! That was Anand Bakshi in 60s.

Interlude..
Pretty soft notes on flute, and bongo replaces dholak. Enchanting notes on Sitar try to create a jugalbandi with Santoor. But Santoor seems in no mood to share the stage a bit here. It comes forward, gives a solo performance and steals the show completely.

Lataji breaks in again..
Kahin gir jaye na bidiyaa
Kahin ud jaye na nidiyaa..
Kaali kaali aane vaali
Kaali kaali aane vaali
Barakhaa ki raat hai
Kajre badarwa..

In the song, Santoor governs everywhere at interludes and and soft notes of flute support all the way whenever the lyrics being rendered. It sounds sweeter than sweet when flute tweets twice after "kaali kaali.." and "aane waali.." All those simple household activities on screen done with much affection makes the song even more delectable. And rain.. that amazing drizzle outside​ the window, flashes of lightening, the wind playing with not only the hair and attire of the heroine but also with the pages of calendar hung on the wall.. Lovely..!!

Second stanza flows like..
Rhimajhim wali chunariyaa
Odhe hue aayi badariyaa..
Jhoome aise, gori jaise
Jhoome aise
Gori jaise sajanaa ke saath hai
Kajre badarwa...

Composer here breaks the typical tradition of keeping first and third interlude same and second the different. Wait, also he doesn't compose all the interludes differently. Here, he keeps first and second interludes​ same and makes third one different!
Third interlude too starts with flute but this time, so soothing! To keep the feel softer, Pancham avoids pucussions and guitar gets its call to provide rythm. Here, Sarangi enters for the first time in the song to add one more beautiful colour to this malodious rainbow followed by Sitar​. But ultimately Santoor comes forward and says, "remember, it's my song!"

She, on screen is all enthralled now. Her mindscape is replicating the wet rain-soaked soil. Love-soaked unto the deepest. Longing seems so likable weaved in some delectable daydreams.

Is bhigi bhigi havaa ne
Kaano me kahaa kyaa na jaane..
Mai sharmaai, mai ghabaraai
Mai sharmaai
Mai ghabaraai aisi koi baat hai
Kajre badarwa..

Long write-up. And still unable to describe its magic.. You can actually feel the atmosphere even if you are not watching the song.! Pancham enters here in Madan Mohan and Roshan's zone but finally leaves his signature everywhere - as mighty and as vibrant as this refeshing rain and sublime Santoor.
Lovvely is the word..