‘Recently, a radio personnel offered to give me air play, promising a surefire hit but behind his action the indirect motive of financial gain was clearly evident,” shared a rueful Pradhan, adding, “Maybe I’m old fashioned, maybe I’ve been out of this loop far too long, the electronic media has come a long way and has left us far behind.”[break]
Pradhan who recorded his first song 30 years back has been passive for some time. When questioned, he revealed, “Life happened! Responsibilities dawned upon me and I had to cut back on singing. In addition to that, work at my school, Holly Garden, keeps me on my toes.”
Shifting priorities might have taken precedence over his singing career, but music has not left him. “Music, in our school, is an optional subject for SLC. Despite hanging up my shoes from professional singing, music has not left me,” shared the crooner, also on the verge of publishing a book to aid music curriculum, titled Sangeet Sahstra Itihas.
Considered as one of the pillars of Nepali Adhunik music, his contribution to Sugam Sangeet is indelible and his collaboration with Dibya Khaling and Gopal Yonjan are the stuff of legends.
Like any musical talent starting out, he had to find a way to rise from obscurity, and it all started with an eventful gig at City Hall in 1981.
“It so happened while performing a cover of Narayan (Gopal) dai’s Lau Suna Ma Bhanchu Mero Ram Kahani, Gopal Yonjan heard me. One thing led to another and we ended up not just sharing a long professional relationship but a deep and lasting personal one.”
Along with Bhool Ho Tero, the first Pradhan / Yonjan collaboration, he went on to sing numerous memorable compositions of Yonzon.
In fact, the singer claimed that after Narayan Gopal, he may be the one to sing most of Yonjan’s compositions.
“Khaling and I were like buddies and it was that friendship, the comfort level that went on to yield many memorable tunes,” remembers Pradhan.
Inquire him on the golden era of Nepali music and he drops two decades as his favorites, 60’s and 70’s. Sugam Sangeet got its strong footing in the arena of Nepali music during this time frame, ruled by the likes of Narayan Gopal, Bachu Kailash, Gopal Yonjan, Ranjeet Gajmer and the likes of Kumar Basnet who added a touch of whimsy.
Talking about his hay days, Pradhan revealed that back then creating music was more personal and there was a sense of intimacy. One ended up making kinship but it was relationship that was cherished.
“We used to sit together. Write, compose, arrange music, it was a team work. Same with the orchestra, everyone was important from the guitarist to the little guy on harmonica, everyone had a crucial role, thus a song become more of a team effort rather than a technician sitting in front of a computer fiddling with tracks and music files,” said Pradhan, who feels a little put off by this sense of detachment.
However, the singer hasn’t lost hope as yet. The current resurgence of Adhunik music in mainstream goes to prove that fluctuation in the taste of music and preference is all but a part of the cycle. He opined that there are some promising acts that keep the flame burning.
“There’s no need to panic, just yet. Change is expected and evolution is essential but one shouldn’t forget their roots,” he explained.
Pattharko Mutu Bokera, Mohani thyakkai lageycha, Gham Bhanda - songs like these are sure to open flood gates of nostalgia to all Radio Nepal listeners from the 80’s. And the trip down memory lane is going to be possible at the Paleti series, organized by nepa~laya.
“It’s been a while since I performed for a local gathering. The initiative that nepa~laya has taken towards the revival of Adhunik music is commendable and I’m more than happy to be a part of this legacy,” revealed the singer.
The Bhool Ho Tero hit maker revealed to have prepared around 20 songs for the event including those that were originally intended to be recorded in his voice but unfortunately went to other’s credit.
“Call it fate, destiny or bad luck there have been few songs that slipped right under my nose, and went on to become massive hits in their own rights. It will definitely come as a surprise to many,” shared Pradhan, who refrained from commenting on the incidents that lead to the songs being leaked.
The Paleti series, in its second tenure, is a sit-in mini concert organized by nepa~laya and put together by singer and music composer Aavas and commences every last Friday of the English month.
Talking about the upcoming act, Avaas shared, ‘Kiran dai has a great voice. The fact that he broke from the cast of Adhunik singers and tried his hands at playback singing says a lot about his versatility and we wish to hear more from him in the future.”
“Paleti can be an excuse for him to make a comeback, it will be a huge compliment to us and our initiative to revive Adhunik music,” said he.
Paleti with Kiran Pradhan is being presented at “r-sala” of nepa~laya in Kalikasthan on September 30, Friday. The tickets are priced at Rs 1,000.