Raga Hameer: Hamaree Pret Lagee - Vilambit Ek Taal

Jagdish Prasad performed Raga Hameer: Hamaree Pret Lagee - Vilambit Ek Taal as the third track on the 1995 album Laaj Rakho Mori. The composition spans 19 minutes and 58 seconds and adheres to the vilambit (slow) tempo structure of Ek Taal, a 12-beat rhythmic cycle in Hindustani classical music. The album appeared under the Venus Records & Tapes label in CD format.

The track exemplifies Prasad’s interpretation of Raga Hameer, a melodic framework associated with the Khamaj thaat. The recording captures the alaap-jor-jhala progression typical of dhrupad or khayal traditions, though the specific gharana (school) affiliation remains undocumented in available sources. The album title Laaj Rakho Mori translates to \"Protect My Honor\" and suggests a thematic focus on devotional or semi-classical bandish (compositions), though no lyrical or textual analysis is provided in the release notes.

Venus Records & Tapes released the album in 1995 as part of its classical music catalog. The label, active since the 1980s, specialized in North Indian classical, semi-classical, and devotional recordings. No additional details exist regarding the accompanying artists, production team, or recording location for this track. The CD format indicates a transition period in Indian classical music distribution, bridging cassette tapes and digital media.

The duration of the track aligns with conventional vilambit renditions, allowing for extended badhat (development) of the raga. Prasad’s treatment of Raga Hameer includes characteristic phrases such as the komal nishad (flattened seventh) and tivra madhyam (sharp fourth), though a detailed melodic analysis requires access to the original recording. The album does not specify whether the performance includes tanpura or tabla accompaniment, though such instrumentation is standard for the genre.

Limited archival information restricts further context on the reception or historical significance of Laaj Rakho Mori. The album remains a documented work in Prasad’s discography, contributing to the preservation of Raga Hameer in recorded form during the late 20th century.