From ‘Devadundhubhi’ in Ennennum Kannettante to ‘Pottuthotta pournami’ in Hridayam, how would you describe your 40 years of a musical journey?
Quite satisfying... I have tried my best, and I feel that my efforts have been fruitful.
You came after the era of Vayalar Ramavarma and P Bhaskaran, but your lyrics were unique. For example, ‘Rajahamsame’ and ‘Kanneer poovinte kavilil thalodi...’
Our reading during childhood is crucial. I used to read extensively. From P Kunhiraman Nair, Sugathakumari, Vayalar, Bhaskaran Master... they are all inside my head. They provide me with apt words for situations. I had learned many things by heart, including the 101 slokas of Shankaracharya’s Soundarya Lahari. I wasn’t aware of its purpose then, but all that came to be of much help later.
Is that how you come up with word combinations such as ‘Vannaathi-puzha’ and ‘Soorya-manasam?’ Do they flow naturally?
One can’t do that purposefully. It has to come naturally. Words come to my mind spontaneously. It all depends on the mood. Creating the correct mood is important. For instance, when people like Lohi (Lohithadas) narrate a story, lyrics would come automatically to my mind. One just needs to pen them down.
How important is the chemistry with music directors?
It is good if there is nice chemistry among artists, though it is not mandatory. Writing is not a mechanical job. It should flow from the mind naturally. So, if the chemistry is good, the songs will be special, too.
With whom all have you shared such chemistry?
I had good equations with most of them. It was, perhaps, more evident with Johnson.
You have collaborated with Salil Chowdhury, Ouseppachan, Bombay Ravi, S P Venkatesh... How were those collaborations?
I understood their capabilities well, and would write according to their styles.
What was Johnson Master’s style?
Tune or lyrics first? We have done both. For instance, in the case of ‘Chaithra nilavinte..., I wrote the lyrics before the tune was composed. Similarly, ‘Brahma kamalam and ‘Vellara poomala’ were also written before composing the music.
Is there any difference in the quality if the lyrics are written first?
Not really. It all depends on the quality of work; that’s it.
Some poets say writing lyrics as per the tune affected the quality of the lyrics...
They may have said so because they were unable to imbibe the ‘taal’ and the tune. It need not be the same for everyone. I had no such issues. My music background helped me a lot in that.
Ennennum Kannettante was your first film. You had already established yourself as a singer by then. How was your transition from a singer to a lyricist?
I never used to write lyrics; I wrote only stories... Then, at one point of time, I fell deeply in love with a girl. But I was rejected, as I was only a temple priest at that time. I felt insulted. That insult drove me to become what I am now.
So, you have experienced love... some article had claimed that you wrote such beautiful, romantic lines without ever having loved...
No. Without such deep love, it is impossible to write.
It ended as unrealised love?
Yes... But I don’t have any grudge towards anyone. It’s over. However, at that time, it was a mental torment. That’s how I started writing poems. Which is your favorite song? ‘Vikaara naukayumai...’ the song touches deep in the heart.
Do your personal experiences come to your writing, or do you think and write like the character?
I become the character; only then the lyrics will come alive.
So, you place yourself in that character and write?
Yes... Then that character’s love becomes mine, its pain becomes mine, and its farewell becomes mine. ‘Kaliveedurangiyallo…’ (sings the song). The character’s pain becomes mine... I melt in his pain. Lyrics come from that pain. I write with my heart.
Songs in Chamayam, like ‘Rajahamsame,’ have a theatre touch to them...
It is because the film has a theatre background. Another reason was that I had started my career in theatre... I have worked with Kavalam [Narayana Panicker] and [Narendra] Prasad for about 15 years.
How was your association with Kavalam?
Kavalam was my guru. He brought me into the world of cinema. He inspired me. He used to say: ‘If one can write, he can also sing, and if somebody is good at both, he definitely can act.’ Kavalam used to inspire all his disciples. There are no such personalities like him in the current generation.
North Malabar has many unique traditions. How have they influenced your writing?
When other parts of Kerala were plagued by caste discrimination, in north Malabar, a Dalit who transformed into a Theyyam could enter Brahmin houses. If someone wears the Theyyam attire, he becomes God. I had many classmates from lower castes like Vannanmar and Malayanmar. They have a great sense of music, traditionally. There are many great artists among them.
Art, it is often said, is divine…
Definitely! Art is divine. More than divine, it’s spiritual. It’s connected to our soul.
Is it true that there were some misunderstandings with singer M G Sreekumar over ‘Anthikadapurathu?
’ I have had no issues with Sreekumar. But, somehow, he and his friends believed I was sidelining him by favouring Dasettan (K J Yesudas). Dasettan is a legend. I revere him. Sreekumar is a good singer and a good friend of mine, but I don’t revere him.
So, Dasettan is the greatest singer, according to you?
There is no doubt in that. He is the best in our country. His voice is divine. There is none like him.
Actor Jagadish once threatened you in connection with M G Sreekumar. What did he say?
He said that ‘MG’ was from their gang. ‘You can’t end his career; instead, it will be your career that will come to an end,’ he warned me (chuckles).
So, was there a clique active in Malayalam cinema at that time?
I really didn’t care. Priyadarshan belongs to the Thiruvananthapuram group. But I wrote many good songs for Priyan. He used to say ‘Ambalapuzhe Unnikannanodu’ was his favourite song. I wrote that for him (smiles).
It was said that director Bharathan wanted S P Balasubramanyam to sing ‘Vikaara naukayumayi’ instead of Yesudas. What is the story behind that?
During that time, there was an issue over song rights. So Ravi ettan (Ravindran Master) decided to give songs to other singers. It was recorded in S P Balasubramanyam’s Gothandapani studio. Ravi ettan and I were present at the console to record SPB’s portion. When the track was played, SPB called Ravi ettan and asked him ‘Don’t you know who should sing this song?’, and left. I am the only one alive to tell the story (chuckles).
How do you assess the contributions of your juniors such as Girish Puthenchery?
He was really good. But the only thing I disliked about his songs was that he was always negative. I told him he should not be so negative while writing songs. For example, ‘Sooryakireedam Veenudanju...’ I asked him why used such negative words. Similarly, ‘Nenjile virishangile theertham ellam vaarnnu poyi...’ nobody should write like that. I am still sad about what happened to him.
Your politics was reflected in the songs of the film Valsalyam, which was released during the time of Babri Masjid demolition...
It was a painful time... I wrote ‘Ramayanam kelkkatheyaayi…’ on the very night of Babri Masjid demolition, December 6. What did they get by demolishing Babri Masjid? It really affected me, and that song was the reflection of my feelings.
Was your family inclined to communism?
Not really, but my father was a huge fan of E M S [Namboothiripad].
Was that how you became a communist?
I am not a communist. I stand with good causes. If a good person contests in an election, I vote for him. I am not a blind fan of anyone. I believe in the power of humans.
After films such as Kaliyattam and Desadanam, you were branded as a Hindutva writer...
That’s all part of this job. We don’t need to pay attention to everything. I go to every political party’s programmes. I don’t fear anything.
Do you feel the new Malayalam cinema industry has been ignoring you?
They don’t know anything. They can’t even recognise good songs.
Is that why Prithviraj behaved rudely to you?
Prithviraj is no one for me. Even if he has the monopoly in Malayalam cinema, I don’t fear him. Once Devarajan Master told me that the only fault with Yesudas was that he also knew that he was the best singer in the world (chuckles). Likewise, I also know my potential. If I have achieved something, that was not by fluke, but through my thapassu (dedication).
Cinema is a fantasy world. How hard is it for genuine artists to survive there?
There is nothing to fear in the world of cinema. I am a living example of that (chuckles). I don’t drink or smoke. I don’t gossip. I have never been part of any cliques or coteries. I have never had to ask for a chance from anyone (smiles).
None?
Except Padmarajan... We had worked together in Akashvani. I always wanted to work with him in his films. I once asked for a chance, and he gave me.
Which film was that?
Innale. Perumbavoor Ravindranath’s composition was a little bit tricky, but I managed to write it easily (sings ‘Nee Vin Poo Pol…’).
So, you mean to say all it takes to survive in the industry is talent?
Of course. If you have talent, opportunities will come to you.
Have you ever experienced writer’s block?
Yes. While I was writing ‘Kannadi kayyil kalyaanam kando’ [in Pavam Pavam Rajakumaran], I was stuck. I just could not write anything. I thought that my career was over. Seeing my situation, a well-wisher asked me to go and get some good sleep. I heeded. The moment I woke up, the lyrics came to me effortlessly. And that song was a super hit.
You have acted, too, in films. Was it just for friendship?
Yes. But if I wanted, I could have acted more.
Your best act was the jugalbandhi with Mohanlal in ‘Devasabhathalam’ song in the film His Highness Abdullah...
Yes. I knew how to write as well as present it. The shoot was done in two shifts. That song also won a National Award. Everybody told me that my lip sync and actions were perfect (smiles).
You had mediated in the Marad massacre standoff and courted controversy...
Yes. I went to the camps there. Even political leaders like A K Antony and P K Kunhalikutty were not allowed to enter, but they let me in.
Recently, you had mediated the issue where a temple priest did not hand over the lamp to Devaswom Minister K Radhakrishnan...
Yes... I took an initiative to end that controversy. During a function in Cherthala, Radhakrishnan and I lit the lamp together. That, I believed, helped erase a lot of negativity. We all must do whatever we can to foster positivity.
Is there actually any issue as per shastras that a priest should not touch anyone else?
If the priest is in the sreekovil [within the temple walls], he is not supposed to touch anyone. In this case, why did that priest come out? He could have sent the lamp with someone else. Having come out from the sreekovil, and yet not handing over the lamp to the minister was not proper.
Do you believe caste consciousness is still very strong in Kerala?
Yes. But it is more among politicians. Otherwise, why is this demand for caste census? Isn’t that cheap politics?
Why do you say so?
People like us (Brahmins) have been ruined. Just because I was born into a Brahmin family, I was not able to continue my studies. What was my mistake? And, now they want a census.
They say caste census is meant to bring the downtrodden up...
If that was the case, an economic survey is enough. What is the need for caste census?
Caste works in multiple layers. Do you believe an educated Dalit gets the same recognition as that of a Brahmin from a poor family in our society?
Isn’t Radhakrishnan more powerful than me? He is a minister...
Yet, he had to face caste prejudices...
Didn’t I correct it? People like me should correct such wrongdoings. I respect Radhakrishnan a lot. He is like a brother to me.
Do you think pujas in temples can be performed only by Brahmins?
No. Anybody who has learned the procedures properly must be able to perform pujas. Even women should be allowed. Brahmanyam doesn’t come with birth. It comes with one’s learning. If required, a law must be brought out to ensure that.
But will the Brahmin sabhas accept this?
I am not bothered. What will they do? Will they exclude me from the Brahmin community? Let them… I have no caste (chuckles). However, I am someone who enjoyed reading the Vedas. I am not like EMS… Instead of rejecting it, I believe that everyone in any caste must be able to learn the Vedas.
Coming back to music, which actor has most impressively enacted your songs?
Mohanlal. He is very talented.
Have you ever felt awed by the lyrics of others?
Bhaskaran mash is the best. There is no song better than his ‘Karayunno puzha chirikkunno.’ In fact, I tried to emulate him with my song ‘Kaliveedurangiyallo’ (laughs out). Vayalar, too, was very good. And then, Girish Puthenchery…
Among the new crop of lyricists?
Rafeeq Ahammed and [B K] Harinarayanan.
Besides Dasettan and Bhaskaran mash, whom do you revere?
[M] Balamuralikrishna. He remains the best classical musician to date. Then, M T Vasudevan Nair when it comes to writing.
Many still don’t know you are the one who wrote ‘Lajjavat h i y e n i n t e ’ and ‘Ishtamalleda...’ (Laughs out). I enjoyed doing them. The only thing I was particular about was that I would never write any anti-woman lyrics.
Would you say romance does not need eroticism?
It should be subtle... Vipralambha sringara is a savarna thing. They write sringaram after a full lunch. I used to write lines on an empty stomach, or thinking of poverty.
Which is your most beautifully visualised song on screen?
‘Vikaara naukayumaayi’ – Bharathettan (director Bharathan) showed me the preview, and I was speechless. It was so beautifully visualised (sings the song). Lohi and Jayaraj also did well with visualisation.
You had suffered from a stroke and were bedridden for some years. How did that period impacted you?
It gave me time to reflect on my life. I was very optimistic. I was sure that I would come back. No one else had such a hope. But I was very sure (smiles).
Have you ever felt that any of your songs could have been better?
All songs (laughs out). I have never been fully satisfied with any. But then, beauty lies in that imperfection.