नया आणि नय्यर दौर ...Chain-se-hamko-kabhi O. P. Nayyar@100

 Anirudha Bhattacharjee & Balaji Vittal, ‘Gaata Rahe Mera Dil: 50 Classic Hindi Film Songs’:

“EVEN during the ‘glorious sixties’, there was something about the years 1964 and ’65. They saw the release of Laxmikant–Pyarelal’s Dosti, Roshan’s Chitralekha, Shankar– Jaikishan’s Sangam, O.P. Nayyar’s Kashmir Ki Kali, Naushad’s Leader, Khayyam’s Shagoon, Kishore Kumar’s Door Gagan Ki Chhaon Mein, Chitragupta’s Ganga Ki Lehrein, Ramlal’s Geet Gaya Pattharon Ne and Hemant Kumar’s Kohra….

...‘Chain se hamko’ is one of the best examples of his melody. Asha has said, in various interviews, that Nayyar had used the bass aspect of her voice to great effect, and surely this song, starting on Pa and spiralling to Sa on the Madhya saptak as the last note of the mukhra, is a prime example. Composed in C sharp scale, the song does not go beyond the lower Sa on the Taar Saptak, while there is the ephemeral use of the Komal Ga and the Teevra Madhyam in the second antara, adding a little drama to the melody that could pass as a lullaby had it not been for the sense of deep pain.”

अशोक दा. रानडे ओ पी नय्यर यांच्या वर विस्ताराने (पृष्ठ २१७-२२२) त्यांच्या 'हिंदी चित्रपटगीत : परंपरा आणि अविष्कार", २०१० मध्ये लिहतात. त्यातील छोटा भाग सोबत.