Kavi Pradeep: The singer of Message Songs

A tribute on the centenary of Kavi Pradeep (6 February 1915 – 11 December 1998)

Mumbaikar 8 has often complained, with some justification, that I do not give due credit to the lyricists. I believe a vast majority associates a song with the singer and the music director, and, generally, also remembers the name of the film, but finds it difficult to associate the lyricist with the same importance. Kavi Pradeep was among few exceptions. He created a distinct niche with his patriotic, devotional and inspirational songs. Many of his songs not only became stupendously popular, but also created a mystic aura about them, with stories and legends associated with them which have now become a part of the popular folklore. And above all, he was endowed with a powerful and magnetic voice, which made the songs he sung immortal. He was among the few lyricists who acquired a larger than life image.

Reams and reams have been written about his Ae mere watan ke logo, not only how the song brought tears to the eyes of Pt. Nehru, but also how Lata Mangeshkar got to sing this history-making song in the wake of her estrangement with C Ramchandra, and how Pradeep’s family sued HMV for their failure to give account of their earning from this song as the poet had desired that his entire royalty should go to the PM’s National Defence Fund, prompting the High Court to direct the company to pay a lump sum of Rs 10 lakhs to the NDF. One can imagine how many crores HMV would have made from this one song. And, how a thinly disguised anti-British song Aaj Himalay ki choti se phir humne lalkara hai, door hato ae duniyawalo Hindustan hamara hai got past the British censors, which galvanized the nation in the wake of the mass arrest of the nationalist leaders post Quit India movement, and propelled Kismet (1943) to an amazing continuous run of over three years. And, how earlier, his Chal chal re naujawan (Bandhan, 1940) became a popular marching song during the nationalist movement, and the anthem of a young Indira Priyadarshini’s Vanar Sena.

Born as Ramchandra Dwivedi at Badnagar in the Malwa region in Madhya Pradesh on February 6, 1915, he was sent to his maternal uncle’s place for studies. Some taunt from his aunt made him leave their home; he went to Allahabad with his elder brother, Krishna Vallabh Dwivedi, from where he did his Intermediate; thereafter, he went to Lucknow for graduation. UP was then the epicentre of the nationalist and revolutionary movements, which deeply influenced Ramchandra. During this period he wrote inspirational poems of patriotism. He was gifted with a powerful and melodious voice. The poems he sang at conferences earned him fame far and wide. He acquired the pen name of ‘Pradeep’ during this period.

He had gone to Bombay for a Kavi Sammelan when he got a call from Himanshu Rai, and was appointed on the rolls of Bombay Talkies at Rs 200 per month as a lyricist. His very first song for Kangan (1939), Hawa tum dheere baho, mere aate honge chitchor, sung by Leela Chitnis, created a big impact. Pradeep wrote four songs for this film, including one which he sang with Leela Chitnis. Encouraged by the young poet’s gift with the pen, Bombay Talkies had him write all the dozen songs of Bandhan (1940), all super-hits, and Pradeep at 25 became a leading lyricist of Hindi films. Thereafter, he became associated with many landmark films of Bombay Talikes, such as Punarmilan (1940), Anjaan, Naya Sansar, Jhoola (1941) and Kismet (1943). After the post-Kismet split in the Bombay Talkies, Pradeep went with Ashok Kumar-Shashdhar Mukherjee’s Filmistan and wrote for Chal Chal Re Naujawan (1944). Because of some contractual constraints he wrote lyrics for four films of Nandlal Jaswantlal – Kadambari (1944), Amrapali (1945), Sati Toral (1947) and Veerangana (1947) – under the pseudonym Miss Kamal BA. He also tried his hand at film production with Girls School (1949), which was a major failure. After the collapse of the studio system, he wrote lyrics for several banners, some big, some small, including B or C grade mythologicals. He also sang from time to time, creating a special niche for himself.

He has the unique distinction of all his songs from a film being ripped later by a film in a foreign country. SoY regulars are aware that Pakistan’s Bedaari (1957) was a frame-by-frame remake of Jagriti (1954), with songs too being a replica of Pradeep’s songs, with such creative brilliance as replacing ‘Hindustan’ with ‘Pakistan’ in Aao bachcho tumhein dikhaayein jhaanki….ki, and so on. Pradeep also had a very unusual pairing with OP Nayyar in Sambandh (1969) in which the two created some landmark songs, such as Mukesh’s Chal akela chal akela.

Pradeep’s creativity was not one-dimensional. If he is associated with Manna Dey’s Upar gagan vishal, he also created Talat Mahmood-Lata Mangeshkar’s O dildaar suno ek baar kya mera pyaar pasand hai (School Master, 1959, Vasant Desai) or Lata Mangehskar’s Kanha bajaaye baansuri (Naastik, 1954, C Ramchandra), or in the vintage era, fun songs such as Main to Dilli se dulhan laya re (Jhoola).

He had not lost his magical touch many years after he ceased to be actively associated with films. He took up Jai Santoshi Ma (1975) with a view to help C Arjun, who was in need of some work, and whom he had known as an assistant to Bulo C Rani. This B-grade mythological went on to become one of the all-time biggest hits of Hindi films, competing with the mighty Sholay. Besides the blessings of Santoshi Mata, this was no less due to the stupendous songs created by Pradeep-C Arjun.

Hs filmography shows films as late as up to 1992 (I Love You, music Ram Laxman). But even if we take Jai Santoshi Ma as his last significant work, his over thirty-five year reign as a top lyricist marks him as a major figure in our film history, earning him a well-deserved Dada Saheb Phalke Award in the 50^th year of independence, 1997. That was in the nick of time, as he passed away soon after, on December 11, 1998.

Such a multi-dimensional artiste cannot be dealt in one post. As my tribute to him on his centenary, I present some songs sung by him, because I put him in the class of singers who could not sing anything which was less than captivating. His songs can be broadly termed as ‘Message Songs’, which had three main strands. One was devotional, such as Doosron ka dukhada door karnewaale tere dukh door karenge Ram; another was patriotic/inspirational we have discussed earlier; and the third was a lament at the state of affairs, showing a stark mirror to the society, such as Kitna badal gaya insaan. His lyrics were devoid of complex literary imagery, they were addressed to the man on the street, in a simple, straight, and often hard-hitting language. Above all, there was conviction and a transparent sincerity in his voice, which could move even a most cynical person.

1. Piyu piyu bol sanjh savere piyu piyu bol from Bandhan (1940), music Saraswati Devi

I start with what should be one of his first solo songs. It is historically significant not only because of its vintage, but also because it presents a different side of Pradeep. He is outstanding in a romantic song too, and his singing is as sweet as his words – मेरे जीवन की जमुना में जाग उठे मंजुल कल्लोल. One can imagine Bombay film industry must have been hearing such poetry for the first time.

2. Pinjre ke panchhi re tera dard na jaane koi from Naagmani (1957), music Avinash Vyas

Ashokji has described Avinash Vyas as the pole star of Gujarati film music. He also composed some great music in Hindi films, but remained under-recognised. He composed at least two songs for Pradeep, which can be counted among his signature songs. Ashokji has mentioned Tere dwar khada Bhagwan from Waman Avtaar (1955) in his article. Here is another of Pradeep’s signature songs.

3. Koi lakh kare chaturai karam ka lekh mite na re bhai from Chandi Pooja (1957), music Ajit Merchant

B-grade mythological, but so what? If Pradeep sings, you can’t help being drawn to it.

4. Doosron ka dukhadaa door karnewale tere dukh door karenge Ram from Dashehra (1956), music N Datta

This song has been my great favourite for decades since a friend sung it long ago at a party. The song in keertan style has a charming beat, and a direct message to do selfless service to others.

5. Dekh tere sansaar ki haalat kya ho gayi Bhagwan, kitna badal gaya insaan from Naastik (1954), music C Ramchandra

Pradeep comes up with a befitting song in a movie which questions the issue of faith, superstition and true meaning of religion.

6. Sukh dukh dono rahte from Kabhi Dhoop Kabhi Chhaon (1971), music Chitragupta

A message that success and failure, happiness and sorrow, victory and defeat are a part of life, just as you sometimes get sunshine, and sometimes shadow.

7. Toot gayi hai mala moti bikhar gaye from Harishchandra Taramati (1963), music Laxmikant Pyarelal

LP created a sensation with their debut in a B-grade fantasy film Parasmani in 1963, and got similar or mythological small banner films in their initial years. But their music rose far above their films, such as Sant Gyaneshwar (Jot se jot jagaate chalo) and Sati Savitri (Tum gagan ke chandrama ho; Jeevan dor tumhi sang baandhi). Harishchandra Taramati also had Hemant Kumar’s well-known song Jagat bhar ki roshni ke liye, suraj re jalate rahna. LP create this excellent song for Pradeep in the film.

8. Humne jag ki ajab tasweer dekhi from Shankar Seeta Anusuya (1965), music Shivram

The forgotten composer Shivram, who had been consigned to mythological films, creates one of the most charming songs of Pradeep. The poet simply depicts the extreme inequality in the world, without being judgmental, where ten times as many people live in misery as in affluence.

हमने जग की अजब तस्वीर देखी, एक हंसता है दस रोते हैं
ये प्रभु की अद्भुत जागीर देखी, एक हंसता है दस रोते हैं

हमें हंसते मुखड़े चार मिले, दुखियारे चेहरे हज़ार मिले
यहां सुख से सौ गुनी पीर देखी, एक हंसता है दस रोते हैं
हमने जग की…

दो एक सुखी यहां लाखों में, आँसूं हैं करोड़ों आंखों में
हमने गिन गिन हर तक़दीर देखी, एक हंसता है दस रोते हैं
हमने जग की….

कुछ बोल प्रभु ये क्या माया, तेरा खेल समझ में नहीं आया
हमने देखे महल रे कुटीर देखी, एक हंसता है दस रोते हैं
हमने जग की…

9. Aaj ke insaan ko ye kya ho gaya from Amar Rahe Ye Pyaar (1961), music C Ramchandra

Pradeep now makes a stinging comment on the degeneration in the society. The recital style singing makes it even more hard hitting. His lament at the disharmony in the society, sectarian conflicts and violation of women’s honour is as relevant today as it was over fifty years ago when he wrote and sang the song.

आज के इस इंसान को ये क्या हो गया
इसका पुराना प्यार कहाँ पर खो गया

कैसी यह मनहूस घडी है, भाईयों में जंग छिड़ी है
कहीं पे खून कहीं पर जवाला, जाने क्या है होने वाला
सब का माथा आज झुका है, आज़ादी का जुलूस रुका है
चारों और दगा ही दगा है, हर छूरे पर खून लगा है
आज दुखी है जनता सारी, रोते हैं लाखों नर नारी
रोते हैं आँगन गलियारे, रोते आज मोहल्ले सारे
रोती सलमा रोती है सीता, रोते हैं क़ुर्र्रान और गीता
आज हिमालय चिल्लाता है, कहाँ पुराना वो नाता है
डंस लिया सारे देश को ज़हरी नागो ने,
घर को लगा दी आग घर के चिरागों ने

अपना देश वो देश था भाई, लाखों बार मुसीबत आई
इंसानों ने जान गंवाई, पर बहनों की लाज बचाई
लेकिन अब वो बात कहाँ है, अब तो केवल घात यहाँ है
चल रहीं हैं उलटी हवाएं, कांप रहीं थर थर अबलायें
आज हर एक आँचल को है खतरा, आज हर एक घूँघट को है खतरा
खतरे में है लाज बहन की, खतरे में चूड़ियां दुल्हन की
डरती है हर पाँव की पायल, आज कहीं हो जाए ना घायल
आज सलामत कोई ना घर है, सब को लुट जाने का डर है
हमने अपने वतन को देखा, आदमी के पतन को देखा
आज तो बहनों पर भी हमला होता है,
दूर किसी कोने में मजहब रोता है

किस के सर इलज़ाम धरें हम, आज कहाँ फ़रियाद करें हम
करते हैं जो आज लड़ाई, सब के सब हैं अपने ही भाई
सब के सब हैं यहाँ अपराधी, हाय मोहब्बत सबने भुला दी
आज बही जो खून की धारा, दोषी उसका समाज है सारा
सुनो ज़रा ओ सुनने वालो, आसमान पर नज़र घुमा लो
एक गगन में करोड़ों तारे, रहते हैं हिलमिल के सारे
कभी ना वो आपस में लड़ते, कभी ना देखा उनको झगड़ते
कभी नहीं वो छुरे चलाते, नहीं किसी का खून बहाते
लेकिन इस इंसान को देखो, धरती की संतान को देखो
कितना है ये हाय कमीना, इसने लाखों का सुख छीना
की है इसने जो आज तबाही, देगें उसकी यह मुखड़े गवाही
आपस की दुश्मनी का ये अंजाम हुआ,
दुनिया हंसने लगी देश बदनाम हुआ

कैसा ये खतरे का पहर है, आज हवाओं में भी ज़हर है
कहीं भी देखो बात यही है, हाय भयानक रात यही है
मौत के साए में हर घर है, कब क्या होगा किसे खबर है
बंद है खिड़की, बंद है द्वारे, बैठे हैं सब डर के मारे
क्या होगा इन बेचारों का, क्या होगा इन लाचारों का
इनका सब कुछ खो सकता है, इनपे हमला हो सकता है
कोई रक्षक नज़र ना आता, सोया है आकाश पे दाता
ये क्या हाल हुआ अपने संसार का,
निकल रहा है आज जनाज़ा प्यार का

10. Yahan wahan jahan tahan mat poochhoa kahan kahan from Jai Santoshi Ma (1975), music C Arjun

And finally the song which might be one of Pradeep’s last in films. He is powerful voice is as arresting as it was in his younger days.

Acknowledgements
1.  Rajya Sabha TV documentary on Pradeep’s life
2.  Kavi Pradeep’s interview on Zee TV