G Markose is a seasoned singer known for a voice deep and divine. A stage favourite among Malayalis, he began his film career with the hit Kannipoomanam and delivered several evergreen hits such as Poomaname, Mathrikochamma, Thalolam poo paithale, and Puthan puthu kalam.
At a time when his cinema dreams got stifled, he focused on devotional songs and made an indelible mark. His iconic Israyelin nadhan, which is entering its 25th year, remains an all-time classic, having transcended the boundaries of time and religion.
Earlier this year, Markose made a ‘viral’ comeback with the song Telangana bommalu in the film Premalu. Here, he speaks about his five-decade music journey. Excerpts:
Shall we start with a flashback to the beginning of your music journey?
I hail from a medical family. My father, grandfather, and relatives were doctors. My father expected me to go in the same line. However, from a young age, I used to sing, though I had not received any formal training.
I recall the time when my father worked at the Thiruvananthapuram Medical College in the early sixties. We resided at Kesavadasapuram, and there was a cinema near our house. They used to play songs on loudspeakers to draw crowds. I used to learn those songs and sing along. I liked Susheelamma’s songs; I found my voice similar to that of her’s in my childhood (smiles). [K J] Yesudas, of course, was my favourite singer as I grew up.
My father was then transferred to Alappuzha, Kottayam, Kochi… I joined Leo XIII School in Alappuzha. [Director] Jijo Punnose and [producer] Ousepachan Valakuzhy were my classmates. [Filmmaker] Sibi Malayil was my senior. There, my classmates used to tell teachers that I sang well, and made me sing during free hours.
After high school, we moved to Kollam. There, I studied on the same campus with Mukesh, Balachandra Menon, Suresh Gopi. By the time of college, I had the image of a singer.
Was that when you realised art was your field?
Yes, almost. I had initially chosen the second group hoping to become a doctor. But I took a detour.
While in Kollam, Yesudas once stayed over at my neighbour’s place. He was in his prime. I got to meet him. He said my voice was good and asked me to learn music. I also went to a ganamela where he was performing. Until then, I had only seen photos of him. The scene at the event was overwhelming. [Singer] Sujatha was also there. Seeing him standing on the stage left a lasting impression, and I decided I would pursue music. By then, my father also realised that I was not going to become a doctor. Then, I started learning music.
Was it Dasettan’s guidance that led you to do so?
His words inspired me. He told me formal training was essential. I started training with Mangadu Thakappan Bhagavathar. However, it continued for only about 1.5 years. He was very strict.
And then you started singing covers of film songs…
Yes. I listened to film songs on the radio and learnt. Gradually, I started participating in musical events. By 1978, people started recognising me. I focused on such events. I used to attend 30 to 35 events a month. That was the way to get recognised – there was no TV or social media. Wherever there was a stage, I used to sing.
It was a time when private cassette companies started here. I started recording for them as well. In 1978, Yesudas’s Tharangini was launched. It was the beginning of the cassette era.
Was that the time you came to be known as ‘Junior Yesudas’?
I didn’t give myself the tag. People used to say there was a Kollam guy who sang like Yesudas.
What about the all-white dressing style?
As I told you, my father and his father were doctors. Back then, i.e. the 40s and the 50s, all those who were in the field of health service were clad in white, which was a sign of purity.
Yesudas, too, used to be clad in all whites. It was a striking image, needless to say.
However, the reason I wear all white is my father. He insisted that I carry on wearing the whites. And so I did. Now, it’s been 53 years.
So, it was not to imitate Yesudas?
Of course, not! It was my father’s insistence and I respected that. Can I say Yesudas imitated my father (laughs)? But, yes, when I saw Yesudas and his appearance on the stage in all whites, I decided — this would do just fine!
After Yesudas, who was a singer that influenced you?
I have sung a lot of songs by [P] Jayachandran. He was gifted. Some of his songs might sound simple, as he sings effortlessly.
One realises how difficult they are while trying to sing them. We need to practice a lot to get his style. Then, Mohammad Rafi saab. He had a natural sweetness to his voice. Beyond great. Kishore Kumar… we feel as if he is singing live. Mukesh… he was in a different league.
Did you sing Hindi songs as well at ganamelas?
I used to try. I mostly sang Hindi songs of Dasettan. Then Rafi saab and Kishore Kumar.
Do you remember the first song you sang on stage?
One of the first songs was Indravallari poo choodi varum. Another one was Sangamam.
How did you get into devotional songs?
I was born in a Christian household, so there’s that. But let me say this, as is the case with any singer, my initial interest was to get into the film industry. But, it was very difficult…
What was particularly challenging about entering the film industry?
There were already legends working at the time. Also, film directors were very particular about who would sing. Most composers preferred experienced voices as film recordings were done in Chennai and were expensive. There was little room for experimentation, for anything new.
Was there an issue of young talents getting sidelined?
Certainly. I, too, was sidelined. There were not enough people willing to encourage newcomers. Moreover, there was a caucus working against me.
Did your tag of ‘Jr Yesudas’ prove to be a hurdle in getting chances?
I don’t know. I don’t believe he personally did anything to hamper my career.
I never tried to imitate him. But yes, I tried to emulate his style as much as possible while singing covers.
However, when it came to my own songs, I took effort to avoid sounding like him. Occasionally, when hitting certain notes or base points, my voice naturally resembles Dasettan’s, but that’s something that happens without any effort. It’s natural for all of us to absorb from our environments.
Have you ever had a conversation with Dasettan about this?
We have never discussed things like my wearing white or me singing his songs. These were never topics of conversation or complaint. However, one media interview had sparked a bit of friction. Apart from that, there was no real issue between us.
When it comes to devotional songs, there was a time when people specifically selected cassettes with your name on them. How do you view that time now?
In the film industry, the possibility of me sustaining a long-term career was uncertain, especially with comparisons to other artists, their market value, and so on. There was a time when agents asked me to stay back in Chennai. However, making such a commitment was difficult for me. It was my decision to enter the field, to make a name for myself, and to create a livelihood from this career — it was a necessity for me. So, I decided to return to Kerala.
In 1982, devotional music began to rise slowly, and that’s when I started recording for private cassette companies. While some of the songs were reproduced, the cassette market was booming, sometimes reaching up to 20,000 copies.
People began to notice the quality of my voice and the emotions in my singing. I started getting more work in the genre of Mappila songs.
I made sure to get the pronunciation of the Arabic words just right. Then came Hindu devotional songs, which also added to my repertoire.
Do you believe that decision was wise?
Yes, I do. If I hadn’t made that decision, I wouldn’t have come this far. Over the 47 years of my career, if I’ve been able to sing and achieve what I have, it’s because of that choice.
While I may have sung only under 100 songs in cinema, many of them received widespread attention. Before the 1986 accident, I used to get at least two film offers a year, with films such as Nirakoottu, Sraavu, and Bhookambam. Songs like Kelkatha shabdham, Poomaname, and Kanni poomanam became quite popular.
After the accident, the first song I recorded was Manthri kochamma varununde in Godfather. Then came Puthan puthu kalam from Kabuliwala, Thalolam poo paithale in Nadodi.
After a 15-year gap, I got the opportunity to sing for Premalu – the Telangana bommalu song. I was initially apprehensive whether my voice would resonate with younger listeners. But the team insisted that I do the song.
Many of the songs you have sung created a fan base. So naturally, when that happens, it’s organic for an artist to receive more opportunities…
Cinema is a different world altogether. I would not point at any individual, but there were forces who sought to hinder my growth. Also, my dignity never allowed me to go plead for chances.
Some days ago, I received an award. It’s a big deal for me as I haven’t received many prominent awards in my 47 years of singing. The award was for Telangana bommalu.
‘Bommalu was inspired by Dasettan’s stage antics’
Is there a mentality in the music industry to prevent emerging artists from rising to popularity?
Such thoughts naturally occur.
Have you had any experience of losing out on an opportunity because of such politics?
Yes, there were confirmed projects that I eventually lost out on.
Do you remember any such songs?
I don’t want to go there. However, I will tell you about one song that I almost missed. Thalolam poompaithale in Nadodi. I got it through [director] Thampi Kannamthanam, who supported me a lot. It was the first song I was to record after my marriage. The first take did not go well, as I was unwell after long travel. So it was decided that we record it again after I get some sleep. When I left the place, a now-popular singer, who was at the studio, offered to sing the song for free. But, Thampichaayan stood firm and said that even if Yesudas wanted to sing it, he would make only Markose sing it. However, when it was released, I was shocked – someone tampered with it by increasing the speed, which altered my voice.
Must have been quite painful to hear a well-sung song come out as a different version…
Of course. If people listen to it in that altered version, will they call me for more work? That was the intention of those who did it. However, at the same time, my voice was doing well in cassette recordings. And that’s how I got more opportunities.
Who was behind meddling with your song?
Some technicians… those who part of a clique and wanted to score brownie points by targeting me.
Did any other singers of that time also have similar experiences?
Maybe, but none as much as me. Perhaps it had to do with the way I sang, walked and dressed… I became the target.
Didn’t you try to break out from that mould?
I could have done that, but I would have had to stay in Madras for that and keep striving. There are certain ways for that. I wasn’t ready for those things. Also, after the accident [on the way to a concert in Bahrain], I wasn’t physically capable of doing that. So I thought I would just be happy with what I had here.
Did anyone, like friends, suggest changing your style?
No, but I have seen comments like ‘You tried to imitate Yesudas, that’s why you didn’t flourish’. That’s just nonsense.
You said you knew Mukesh, Sibi Malayil, and Suresh Gopi from your college days. Didn’t you reach out to them or vice versa?
I never did. That’s not my nature. They, too, never called me. I was the first one to get into films. They all came later. Ouseppachan Valakuzhy was my benchmate in school. He made five or six films. He never called me to sing in his films. I, too, never asked him. I, however, have sung some popular songs for Mukesh and Suresh Gopi. But that was it.
The song Manthrikochamma in Godfather is an evergreen hit…
Yes. Even now, the song remains alive. My daughter, who studied at Ernakulam Law College, used to tell me how the song was a regular at campus functions. It’s been 35 years since I sang the song. I am glad that it’s still celebrated. Similarly, the devotional song Israyelin nadhan, sung about 25 years ago, continues to connect with people.
‘Israyelin Nadhan’ went beyond Christian devotion. People across age groups and religions embraced it…
Yes. Even among non-Christians, it became popular. I have attended Muslim events where they requested me to sing this song. It has been adapted into multiple languages like Tamil, Kannada, and Odia. People have used it as a calling bell tone, a ringtone, and even a tune for car-reverse alarms. The song really made history.
Did you think that it would become something special while working on it?
No, to be honest. The song was initially done for a film under the Grihalakshmi Productions banner (Veendum Chila Veettukaryangal). There were two songs — the other one was Vishwam kakunna nadha, written by Sathyan Anthikad and composed by Johnson Master. Israyelin nadhan did not make it to the film, yet it ended up becoming the more popular song. Even today, thousands of people listen to it. I must say, Peter Cheranelloor’s composition and choral arrangements were beautiful.
As someone who has sung many devotional songs, do you believe that devotion is growing within society?
Is it really devotion, or is it the tunes that draw people? The reflection of devotion is not evident in human actions nowadays (smiles).
A notable change is that more young people are coming to sing. In the past, even during the freedom struggle, songs from organisations like KPAC, connected with the youth through music. Music has a way of reaching the mind.
In Kerala, however, youth involvement in temples and churches when compared with other parts of the world. We often see young people actively participating in churches abroad.
On a personal note, some listeners have shared their transformative experiences with me. Many have told me that after hearing my songs, they felt calmer. One even said he quit alcohol and drugs because of the impact of a particular song.
You have now made quite a comeback with ‘Bommalu’, especially the offbeat style in which it was rendered…
(Smilingly). Since my childhood, I have tried to sing all genres. And again, Dasettan is my inspiration. He used to add humorous expressions in songs originally recorded by him for films. Like the song Maniyan chettikku mani mittaayi... from the movie Chandanachola (1975). So I also used to do some experiments, inspired by his antics.
Did Yesudas deliberately improvise the songs during stage performances?
Sometimes, it’s probably because, just like any human being, he might have forgotten the flow.
Frequently, we hear people say Yesudas’s live singing doesn’t match up to his recorded version, why is that?
Yes, during recording we can technically improvise a lot. We can adjust the bass and trouble and enhance with echo or reverb, and we hear the final polished version, whereas on stage if it’s gone, it’s gone. During the recording, they can check the intensity, the range and the overall quality, but on stage, it’s different.
There must have been offers after Premalu for similar, whacky tracks…
Many people called me. But their enthusiasm fizzles when I talk about my rates – not that I demand exorbitant remuneration. But then, what many ask for is free music. Asking someone with nearly five decades of experience in the way one would ask a rookie isn’t right. I, however, have sung for two upcoming films – ‘Kettiyollude Nikkah’ and ‘Thaadi’.
Does anyone from your family sing?
I taught my children music. However, they were good in studies, and I didn’t want to force them into music. The elder son is a doctor, and the second one is an architect. The third one is a girl – we were worried if it were a boy whether people would say I copied Yesudas in this aspect as well (chuckles)! She is a lawyer. My wife sings once in a while; she prefers listening.
Which is your favourite or most memorable song?
Most of the songs that I have sung are my favourites. In cinema, it’s Poomaname and Thalolam poo paithale are close to heart. Among devotional songs, Israyelin nadhan certainly. Ee yathrayil is also special to me. It has very meaningful lyrics. It was written by [the later Archbishop] Cornelius Elanjikal pithaavu. I sang it first in 1984. But even today, this is the first song I sing when I go for any event or inauguration.
TNIE team: Cithara Paul, S Neeraj Krishna, Anna Jose, Mahima Anna Jacob, Shyam P V, Manisha V C S, T P Sooraj (photos), Harikrishnan B (video)