Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Deewaana ye parwaana

Posted on: January 12, 2013

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular conributor to this blog.

Today is the Birth Anniversary of C.Ramchandra or Ramchandra Narhari Chitalkar.

Only the other day I got hold of the Marathi Autobiography of C.Ramchandra(CR),titled ‘ Majhya Jeevanachi Sargam’ (Saragam of my life.) Copyright by Yeshwant Ramchandra Chitalkar-1977.

Once I started reading it,it was difficult to put it down half read. Not that the language is very catchy, but his life is so full of events that one gets lost in reading them. He wrote this book in 1977, when he had retired from work-or offers had stopped coming to him.

After the film KHAZANCHI-1941 caused a revolution in HFM with Ghulam Hyder’s Punjabi folk and dholak songs, HFM saw a new Era-free from the cluthes of stage and classical musical tunes. The film brought a fresh breeze, a new life in HFM.

While this was happening in Lahore and Bombay, far off Calcutta was vibrating with Boral, Pankaj Mullik and Kamal Dasgupta bringing the rest of India under the influence of Ravindra Sangeet and Nazrul Geetee together with traditional Bengali folk tunes..

C Ramchandra brought another Revolution in HFM with his music, based on western instruments and singing styles. He was the FIRST who started using this type of Music, which caught the fancy of the HFM lovers all over India. With his film Shehnai-1947, he changed the course of HFM to such tunes which were easy to remember and hum. He brought novelty by introducing whistling in songs.

When C Ramchandra was working in Minerva Movietone, his first boss in the music department was Bundu Khan. Then came Habib Khan. He taught him the use of Classical music in films. Next was B.S.HOOGAN,a Kashmiri composer. He taught him that Desi Raags can be played on western instruments. C Ramchandra also learnt notations from him. Hoogan used to compose music and ask C Ramchandra to write its notations. Thus C Ramachandra became an expert in this. Hoogan brought many musicians from Goa to play western instruments.

After Hoogan it was Meersaheb. C Ramchandra learnt a lot from Meersaheb. He became his favourite assistant. C Ramchandra would quietly insert his own tunes in Meersaheb’s tunes and the songs used to become popular.

They were recording a song on location,for ” Bahadur Kisan” a film in which young Master Bhagwan was the Hero. C Ramchandra helped Bhagwan in singing a difficult song. C Ramchandra and Bhagwan became thick friends. One day, Bhagwan told him that he has an offer to direct a Tamil film-‘Jaykodi’ in Bombay itself. He offered C Ramchandra to become its Music Director. C Ramchandra grabbed the opportunity with both hands.(Later he had done one more Tamil film ‘Van Mohini’ in Madras.)

Kavi Pradeep took him to Filmistan and he was appointed as its paid Music director. When Shehnai-47 was to be made, Filmistan invited Ghulam Hyder from Lahore to be its Music Director. C Ramchandra felt humiliated. However, Ghulam Hyder did not come for a long time and the producers became restless. Raibahadur Chunnilal called C Ramchandra to his office and asked him to do 2-3 songs of Shehnai till Ghulam Hyder came.

Actually, C Ramchandra was a paid servant of Filmistan and as per Studio rules of those days, he was supposed to do whatever was told to him. But this hurt him very much and he boldly told the Boss that he will not do 2-3 songs. Either it is the full film or nothing. Surprisingly, Chunnilal was impressed, instead of getting angry. After waiting for a few more days, the music direction of the film was given to C.Ramchandra. The rest is History as they say. This film not only changed the trend of HFM, but also became the begining of the GOLDEN ERA OF HFM.

CR became famous all over India.’Aana meri jaan,Sunday ke Sunday’ was on evrybody’s lips in those days. C Ramchandra took off to a great flight from 1947 and till 1955, he gave his best music. In these 9 years, C Ramchandra did 54 films and it included Mega-Musicals like Patanga, Namoona, Khidki, Nadiya ke Paar, Shehnai, Sargam, Sangram, Samadhi, Sagai, Nadaan, Khazana, Albela, Shin shinaki Bubla Boo, Parchhaiyan, Jhamela, Anarkali, Subah ka Tara, Nastik, Yasmin, Pehli Jhalak, Lutera,Insaniyat and Azaad.

C Ramchandra and Bhagwan were thick friends. Bhagwan was only involved in stunt films to which C Ramchandra gave music as ” Annasaheb “. Once when they were together,C Ramchandra told Bhagwan that it was high time he now acted in/made a social film and he would give music as C. Ramchandra.

Bhagwan jumped with joy and immediately wrote the story of ALBELA. C Ramchandra contacted Rajendra Krishna, who had also become a member of this group by now. Lata was already “with” C Ramchandra those days. These 4 people made history in HFM in 1951. All over the country ALBELA was a mega Hit.”Dheere se aajaa ri nindiya” became a Hit song and after this film, it became a fashion to keep atleast one Lori in Hindi films. After Saigal’s “So jaa Raajkumari so jaa”,this was the only famous Lori in India then.

Another strange thing happened with ALBELA. Wherever this film was screened, people used to dance on every song,in the hall and on the stage. At many places people used to throw coins on the stage also.

In 1951, when I saw ALBELA in Palace Talkies on Abids, Hyderabad, I had experienced the people’s frenzy in the Theatre first hand and had seen the doorkeepers and other staff jostle with each others to collect the coins on stage, after the film was over.

With so much fame and success, no wonder C Ramchandra wanted to produce films. Omprakash- a very good friend of C Ramchandra, his brother and C Ramchandra founded ” New Sai Productions” and the first film was Jhanjhar.(contrary to popular belief, C Ramchandra does not indicate anything about Lata being one of the producers of Jhanjhar). C Ramchandra made every effort to make its music the best possible.

At that same time, he was also doing Filmistan’s “Anarkali”. When the owners of Filmistan saw that C Ramchandra was devoting more efforts for Jhanjhar, they sent him a legal notice, complaining that he was neglecting Anarkali work.

Anyway, the irony of fate was that Jhanjhar was released first and became an instant FLOP !

ANARKALI became an all time hit with its music in those days!!

C Ramchandra scaled new peaks with its success. One of the songs of Anarkali ‘ Zamana ye samjha ki hum peeke aaye’ was not liked by anybody in Filmistan before its release and everyone was in favour of dropping this song from the film before release. However good sense prevailed and this very song became a Hit ! The ways of Luck are strange indeed !!

Coming back to ALBELA, one of the reasons ALBELA’s music was famous and popular was that C Ramchandra had used ALL Goanese musicians in these songs. Chic Chocolate(A.X.Vaz) was his arranger.(B.S.Hoogan’s formuls had worked, after all.)

CR had used Bongo, Congo, Thumba, Rotodrums and Dholak and Ramakant Mhapsekar played them. Accostic, Electric, base and Hawaiian guitar was played by Bonny D’costa, Cello by John Dias, Song and solo by Anil Mohile, Viola by johnny Gomes, Violin by Oskar, mandolin by Kishore Desai etc etc. Clarinet, Oboe, trumpet and saxophone were also used in addition to Indian instruments like Tabla, organ, Sarangi etc.

There are many anecdotes and incidents described by C Ramchandra in his autobiography, but may be, the rest will be discussed with some other C Ramchandra song later.

(The copyright of the book rests with Yeshwant Ramchandra Chitalkar).

Today we will see a song from ALBELA which has not yet been posted on this Blog so far- ” Deewana,parwana,shama pe aaya lej e dil ka Nazrana” sung by Lata and Chitalkar.

Song-Deewaana ye parwaana Shama pe aaya le ke dil ka nazraana (Albela)(1951) Singers-C Ramchandra, Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lata + Chorus


ye parwaana
shamaa pe aaya le ke dil ka nazraana
ye parwaana
shamaa pe aaya le ke dil ka nazraana
shamaa pe aaya le ke dil ka nazraana

jaan jalaaye
sukh paaye
jalne mein mazaa aaye
jaan jalaaye
sukh paaye
jalne mein mazaa aaye
jalne ke dhang niraale
samjhen kya duniyawaale
ae ae
ishq tera afsaana
shamaa pe aaya le ke dil ka nazraana
shamaa pe aaya le ke dil ka nazraana
shamaa pe aaya le ke dil ka nazraana

parwaane ke pankh jalaake
shama bhi pachhtaaye
parwaane ke pankh jalaake
shama bhi pachhtaaye
yaad mein parwaane ki
subah tak jaan jalaaye
ho o
khel nahin dil ka lagaana

shama pe aaya le ke dil ka nazraana
ye deewaana
ye parwaana
shamaa pe aaya le ke dil ka nazraana
ye deewaana
ye parwaana
shamaa pe aaya le ke dil ka nazraana

jalne jalaane mein
kahaani hai pyaar ki
mitne mitaane mein
jawaani hai pyaar ki

pyaar mein marna
ho jeene ka bahaana
shamaa pe aaya le ke dil ka nazraana
ye deewaana
ye parwaana
shamaa pe aaya le ke dil ka nazraana
ye deewaana
ye parwaana
shamaa pe aaya le ke dil ka nazraana

8 Responses to "Deewaana ye parwaana"

Dear Arunji,
Thank you very much for giving us many details on our beloved MD C Ramachandra. Is the English translation of the book available in market? I would be interested in buying it, kindly let me know.

With Regards,


Aparna ji,
I also tried very hard,but it seems,the English Translation was never made.


Hmm, bad luck. Thank you for the reply Arunji.


C Ramchandra could not find the right way to end yeh zindagi uski hai song. I understand that he took help of Naushad.


[Enter Post Title Here]

No…it was not Naushad Ali saab…it was Roshan Lal, Anna’s close friend, present while rehearsals, suggested as a gesture of love the befitting end to the song. Anna was pleased to receive it….. and thus the song was ended with melancholy…immortal melody …!!

The article by Atul is symbolic of his love and affection for Annasaheb…just to remove a small error…Anna’s father’s name was Narahar and not Narahari.

Further how can u forget or omit DD’s name ? Datta Davjekar’s share in Anna’s success story is immortal. Right from Anarkali to Bahurani in 1963 DD was Anna’s right hand and arranger..who himself was a versatile music composer. Without DD’s participation, Anna’s later films were a flopp!!.. Anna respected him but following the split with Latadidi, all deserted name some are .Rajendra Krishna, DD, film producers like Vasantrao Joglekar, V Shantaram., Filmistan, also many of his admirers from South.. there are sad events post 1967-68 which caused sad fall of Annasaheb…just like a Greek tragedy. Some of his close admirers say…Anna lost his notation book…that disabled him from creativity and his love for Alcohol derailed his life..and the mighty killer diabetis ended his life in 1982. Very sad….

I wish to add some key characteristics of his music…his several songs for Lata were based on Marathi Bhavageet ( my opinion).. that added honey and emotions to his compositions…just think of Lata singing for Khazana, Nirala, Ghungroo, Samadhi, Bahurani, Devata, …and several songs…in all over 290 songs alone by Latadidi…

One more interesting ( I liked it very much ) by M Ashraf Aziz of CineVision……

The gentle giant who was affectionately known by several names: Annasaheb, Chitalkar and mostly as C Ramchandra, was born in Punatamba, Maharashtra in the year 1918. He was a student of Vinayakbua Patwardhan at Gandharva Maha Vidyalaya music school. He joined films with Y.V.Rao’s flop, Naganand followed by chuck roles in Minerva Movietone (Saeed-e-Havas, Atma Tarang). He became a Harmonium accompanyist for Minerva composers Bindu Khan and Habib Khan. He often got opportunities to sing and act in Marathi films.

His debut film as a music director was in Tamil films with Jayakkodi and Vanamohini. He got his first Hindi film, Bhagwan’s Sukhi Jiwan, in 1942. Ramchandra’s juvenile songs may be sub-divided into those with highly westernized male and / or female choruses, duets or quawwalis. The mood of these songs was zany, saucy, raucous, irreverent, mischief-laden..joyful noice. The composer’s natural ebullience, boyish vigor and state of camaraderie with the young man of the Hindi cinema are evident here. It was ‘let’s have a good time’ music; on the screen the purveyors of these songs were either the raunchy comedy team of Yakub and Gope (Patanga, Saaqi, etc.) or the funnyman Bhagwan (Albela, Shin Shinaki Bubla Boo, etc.) who was often Ramchandra’s juvenile persona on the screen.

An outstanding feature of many of these songs is their intense curiosity about western mores and manners; they often employed western musical idioms in exaggerated fashion either for satire or irony. These songs mirrored the curiosity of the educated, urbanized Indian youth of British India regarding their colonizers. Popular belief has it that Ramchandra introduced rock ‘n’ roll in India before it became a rage in the west. This is a paltry statement in the face of his numerous experiments in western/Indian and middle-eastern styles. For example, in ‘Meri Jaan..Sunday Ke Sunday..’ (Shehnai) he introduced the Benny Goodman style of jazz clarinet in combination with an Indian melody. The song is infused with hilarious verbal and musical incongruities resulting in a comical effect. Other westernized songs e.g. ‘Shola Jo Bhadke..’ and ‘Ye Diwana Ye Parwana..’ (Albela) employed cabaret type dance feturing bongo drums, oboes, clarinets, trumpets, saxophones, etc. The spirit and atmoshphere of these songs convey much hilarity, exuberance and gaiety of the sort one finds in opera comique of Jacques Offenbach.

Those who lavish extravagant praise – richly deserved, of course on the filmi ghazals of Madan Mohan and Khaiyyam, forget that C Ramchandra composed some of the most exemplary song in this genre. One need only to point to those sung by Lata or by Talat Mehmood in Parchhain, Yasmin and Kavi. Furthermore, those who simplistically claim that Lata Mangeshkar was at her best under Madan Mohan’s baton engage in cruel, selective memory. Song upon song composed by Ramchandra for Lata Mangeshkar belie those contentions. Moreover, it is conveniently forgotten that Madan Mohan worked under Ramchandra for the songs od Shabistan (1951). No wonder, then, that Madan Mohan’s music has an underlying Ramchandran flavour. The supreme lyricism of their melodies united them; further, their orchestra had similar sound and ambience. Except that Ramchandra’s string section (violin) had a more dancing , ‘waltzing’ sound. In a Madan Mohan song the ‘waltzing’ effect was more muted, to create a more somber sound.

It is noteworthy that although C Ramchandra was most commonly associated with lyricists Rajendra Krishan and Santhoshi. In Anarkali he worked with three lyricists, Krishan, Shailendra, and Hasrat Jaipuri. In his later he employed Noor Lakhnavi (Parchhain), Jan Nissar Akhtar (Yasmin), Pradeep (Nastik), Shakeel Badayuni (Zindagi Aur Maut) and others. The diversity of poetic sources notwithstanding, his style remained intact.

If in the mid 50’s someone had suggested that the artesian well of Ramchandra’s creativity would shortly run dry, he would have invited scornful ridicule. And yet, this is exactly what happened. By the early 60’s Ramchandra had fallen silent..this silence became permanent on January 5, 1982. He worked on Marathi, Telugu, Tamil and Bhojpuri films. And briefly he turned producer with New Sai Productions in 1953 and produced Jhanjhar, Lehren, Duniya Gol Hai under his banner. In the late 60s, he composed for successful Marathi films: Dhananjay, Gharkul. He got his autobiography published in the year 1977.
Extracts taken from : Article By M Ashraf Aziz, Cinema Vision.


Arun ji,

Thanks for the write up full of information; as well as the song. Under the bright lights of “Shola Jo Bhadke. . .”, other songs of this film somehow get less notice. But as this one shows, the other songs of this film are no less entertaining. 🙂

Shriram Moghe ji,
Thanks for the additional inputs. I have not met Dr. Ashraf Aziz, but I known him through mutual friends, and am familiar with his writings.



thanks ….i suggest u log on to They have dedicated several songs to the page recently published…. u will be delighted …..


I am sorry to learn that his autobiography was not translated in English.
Anyhow, could you please let me know publisher of the Marathi edition and where I can get it in Mumbai?


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