Singer Minmini’s journey in the world of music has been nothing short of extraordinary. Her iconic rendition of A R Rahman’s ‘Chinna Chinna Asai’ in the film ‘Roja’ catapulted her to nationwide fame, making her a household name across India. With a repertoire spanning over 2,000 songs in languages such as Malayalam, Tamil, Kannada, Telugu, Hindi, Badaga, and Odia, she established herself as one of the most versatile, ebullient playback singers of her time. However, her career has been a rollercoaster — marked by a meteoric rise to stardom, the devastating struggle with singing, and a show of resilience. In a freewheeling interaction with TNIE, Minmini opens up about her highs & lows, spirituality, and how her family’s unwavering love helped her overcome life’s toughest challenges
Can you tell us about your first steps in music?
My musical journey began at home. Both my parents were talented singers. My three older sisters also used to sing well. My father was passionate about music, and he encouraged us. He, in fact, relocated to a village on the outskirts of Ernakulam to ensure that we grew up in a pollution-free environment.
Someone would be singing at any given time in our house. I was just three-and-a-half years old when my uncle first noticed my ability to grasp lyrics quickly and sing. At school, teachers were incredibly supportive. They were my first audience outside of home, and their enthusiasm played a significant role in shaping my musical journey.
Did you take any formal training in music?
During my childhood, there were no classical music teachers in our village. However, my mother, sisters and I would meticulously learn songs from the radio, paying attention to every detail. I still remember, it used to be a battery-powered radio, as we initially didn’t have an electricity connection at home. My sisters would transcribe the lyrics into their notebooks, while I, being younger, would unknowingly absorb them. Whenever someone asked me to sing, I would recall them from memory and sing. I wasn’t as serious about music as they were. I would say my early introduction to music was a blessing from within my family.
How did your singing career start?
It began unexpectedly when I was just 10 years old. I started singing for my cousin, who was a dance teacher. There was some dance programme and she wanted me to do the vocals. Many people appreciated my singing, and I started getting offers to participate in music programmes. Things, however, got serious when a ballet troupe, Srichakra Nritya Vihar, based in Tripunithura, approached my father, seeking permission to let me sing for them. Despite initial reservations due to the late hours and my young age, he agreed as it was a great opportunity. I eventually performed with the troupe for over three years. That experience served as a valuable training ground for me, as I had no formal classical training until then.
You joined RLV College in between…
It would be an affront to RLV to say that I ‘studied’ there (laughs). I rarely attended classes, as I used to have several music programmes, including ganamelas and cassette recordings.
How did you get into cinema?
It was by chance. At the CAC Studio in Kochi, [music directors] Rajamani Sir and his father, Chidambaranath Sir, had composed about 10 songs for [K S] Chitra chechi. I was called to sing the base tracks for the songs. After the recording, Rajamani sir asked if I could come to Thiruvananthapuram to sing for a film. I realised it would take five days, which required my father’s permission. The artists at the studio convinced him, explaining that it would be a big break for me to enter the film world.
Thanks to their encouragement, I travelled to Thiruvananthapuram. When I arrived at the studio, I found myself in a galaxy of ace musicians. It was an incredible experience. My first recording was in Tharangini [K J Yesudas’s music company]. Everyone there encouraged me, and that’s how my first film recording happened. It was for the film ‘Swagatham.’ I was just 18 years old at the time.
What’s the story behind your stage name?
My official name is still P J Rosily. My father used to affectionately call me Mini or Minimon, never Minimol. I came to be known as Mini at stage shows. However, when I started working with Ilayaraja sir, he said the name ‘Mini’ didn’t exist in Tamil. He christened me Minmini.
When did you move to Chennai?
On January 1, 1991, there was a stage show in Palakkad by the CAC orchestra playing [music composer] Jerry Amaldev sir’s songs. [Singer] Krishnachandran chettan, who also come to sing for the show, told me that Ilayaraja Sir had asked about me. I was so naive that I wondered, ‘Who is this Ilayaraja?’ (Chuckles) He told my father that Jayan uncle (singer P Jayachandran) had been frantically trying to reach us. Next day, when my father called Jayan uncle, he told him to rush with me to Chennai. That’s how it all started.
You met Ilayaraja straight away?
Before meeting Raja sir, we went to Jerry sir’s house in Chennai. I had been to Chennai twice before to sing for Jerry sir. During those times, we stayed at his house. That was our only connection we had in Chennai. After we reached his house, Jayan uncle also arrived. I was sitting in a room, while they were speaking about Raja sir in another room. Later, they asked me which song I would sing if Raja sir asked me to. I sang Raveendran Master’s ‘Valampiri sankhil’, and they approved.
Jayan uncle had earlier seen a video cassette of me singing ‘Shanmugha priya ragamo’ during a stage show abroad. He asked me to sing that song if Raja sir asked for a second song. On the way, there was a huge crowd near Raja sir’s house. Jayan uncle told me they were all waiting to just catch a glimpse of Raja sir. I also noticed large cutouts of Raja sir along the roadside. Despite all this, I still didn’t realise the seriousness of the situation (laughs).
How was your first meeting with Ilayaraja? Were you nervous?
To feel nervous, one must know how great Ilayaraja is, right? Since I was clueless, I wasn’t nervous at all (laughs). When we reached Raja sir’s studio, we were first taken to the composing room. Raja sir was there with [lyricist] Vaali sir and Gangai Amaran sir (Ilayaraja’s brother and composer]. Raja Sir asked me to sing a keerthanam. I told him I didn’t know any. Then he asked me to sing any song I knew well. I sang “Valampiri sankhil”. Raja Sir listened to the entire song and asked me how many times I had heard the song to learn it.
What was your reply?
(Laughs) Learning that song was a different story by itself. As I said earlier, we didn’t have electricity at our house then. Our neighbours, who had electricity, used to often play the song loudly. We could hear it from our home. That’s how I learnt the song. But I didn’t tell this to Raja sir. I simply said I had learnt it after hearing it two or three times. Then he asked me to sing another song, so I sang ‘Shanmugha priya ragamo’. After that session, Raja sir told me not to return to Kerala. I was so naive that I actually felt sad upon hearing this, as I had several music programmes lined up in Kerala. But my father said we would do as Raja sir instructed. Unlike me, he knew who Raja sir was. Later, I saw Asha Bhosle recording a song for Raja sir. She was a singer I admired, an icon. That’s when the scale of what I was up struck me (laughs).
You later sang several songs for A R Rahman, whose style was totally different from that of Ilayaraja…
Singers shouldn’t think too much about such things. It comes naturally if you avoid overthinking. The two are different individuals, but I, as the singer, remain the same. Their ways were different. God helped me deliver what they wanted in their respective styles. It’s that simple (smiles).
When did you realise you were a famous singer?
It was when I started receiving a lot of letters after ‘Chinna chinna asai’. That’s when I realised people from other places were listening to my songs, just as I used to listen to Janaki Amma’s songs. Such thoughts had never crossed my mind before.
How did the song ‘Chinna chinna asai’ happen?
One day, [music director] Arjunan Master came to my house in an autorickshaw. I went along with my father in that same auto and sang the song. My sister Jansi was also there. That’s all (smiles). Nothing big happened.
There used to be a rumour that K S Chitra was the initial choice to sing ‘Chinna chinna asai’...
That I don’t know. Maybe, it’s true. I also saw it mentioned in an interview with Rahman sir. After recording the song, some people asked [director] Mani Ratnam Sir whether the song was okay or if they should try another singer. I later came to know that he told them the song was fine. Rahman sir mentioned this in one of his interviews. I don’t know who the initial choice was. I was a rookie then. If I had failed to deliver what they wanted, someone else might have sung it.
What do you think made the song such a hit?
Honestly, I don’t know. Reflecting on my ignorance is amusing (laughs).
Maybe because there was a similarity between the singer and the character in terms of innocence…
In the film, the character had at least passed Class 10, which set her apart (laughs). As for me, I entered this field knowing very little. As I mentioned earlier, I consider myself a blessed child of the Almighty to have experienced such wonderful things even before fully understanding them. Perhaps my voice reflected a certain innocence, just like the character.
What was Rahman’s style? Would he explain in detail what you should do?
Yes, he would play the harmonium and explain. He would sing the song and show us how it was to be rendered. It was he who taught me how to sing ‘Chinna chinna asai’. Arjunan Master and Rahman sir’s mother were also present at that time.
Just as your career peaked, you had trouble with your voice. How did you overcome that situation?
A lot of people supported me. My parents, sisters, cousins… they were all there for me. I lost my voice just before my wedding. My husband, Joy, helped me a lot. He took care of me like a baby. He still does. My treatment was in Chennai. [Singer] Mano annan and his wife were there for me. I stayed at their house, and they supported me throughout the treatment. They cared for me like their own child. We consulted ENT specialists, gastroenterologists, and other doctors and did several tests, but nothing was found.
It was not that I ‘lost’ my voice – I just could not sing in front of the mic.
So, was it more of a psychological issue?
That is it! (Smiles, and turns emotional)
We have heard that Rahman tried to make you sing again…
Yes. I was not ready for it, but he insisted. It was the song ‘Pachai kili paadum’ for Bharathiraja sir’s film ‘Karuthamma’. In a way, I just uttered the lyrics bit by bit. He made it into a song with his skill, and technology. It was painful for me that I couldn’t sing it well.
Did anyone from the industry reach out to you at that time of crisis?
No (smiles). No musician reached out to me. Maybe they found it hard to face me. I was their pet, and when someone like that goes through such a difficult time, people often hesitate… they struggle with what to say or do to console or bring peace. Maybe they found it hard to face me, I don’t know. I don’t hold any sadness over that.
Despite all the hardships, you have maintained a positive outlook on life. Is that because of your belief in God?
What does God’s face look like? How can we define God? To me, God is love. There’s no specific figure or face. We might picture God in our minds based on what we know or how we envision, but for me, God is invisible and omnipresent. The love and happiness we share — that’s God. And that love, that happiness, is always around me.
What’s your favourite song?
S Janaki’s ‘Thamara kumbilallo,’ ‘Chirikkumbol koode chirikkan’, ‘Kuli kazhinju kodi mattiya’; P Susheela’s ‘Maanathe mazhamukil’; Vani Jayaram’s ‘Seemantha rekhayil’; P Madhuri’s ‘Innu enikku pottu kuthan;’ K S Chithra’s ‘Nimisham suvarna nimisham,’ ‘Mouna sarovaram’ — the list would go on.
Did you listen to songs for solace while you were away from singing?
No. There was a time when I fully stopped listening to songs. Listening to music brought back old memories, sad memories, and often triggered trauma. So I stopped listening to my songs. And other songs because that reminded me of my singing, recording days. So I made a conscious decision to avoid listening to songs. That said, I was not in a low place. I had my home and my loved ones to tend to. I found a lot of joy in that.
What precisely did you do to take your mind off negative thoughts? How did you stay engaged?
I love making food for my children. I tended to my plants — like a normal homemaker. I am that as well. I am a singer only in the studio. My biggest achievement is that I was able to spend time with my kids during their development phase. It might seem trivial to some people, but no, I cherish those moments. That was the happiest phase of my life.
Do you still manage to do concerts or shows?
My days are still entirely filled with music. My husband and children are musicians, so what we talk and share is all music. We run a music academy in Kochi. I cannot sing as I used to do before because it is causes strain. I do stages where I only sing 4 to 5 songs now, unlike 15 or 16 songs as I used to before.
You seem to be very spiritual...
Yes. I cannot survive without depending on God. From childhood, I was taught that talent was a blessing from God. Whenever there was an incident, my father used to tell me God had a role in it. That’s how I grew up. When I lost my voice too, that’s how I looked at it. Now I have accepted everything in my life. I am happy when I get an opportunity. If I don’t, I don’t worry about it. Because I am happy with the family and career I have. My husband has been a great pillar of support.
I have several ailments, yet he unconditionally loves me. My God has given me the best in life. I found peace during difficult times because of the good people around me. They always treated me like ‘chippikkul muthu’ (pearl in an oyster).
What is the place for music right now in your life?
I am living in music. It’s just that I’m not singing, but music envelops me everywhere. I can’t imagine a life without music. Music is inside me and around always.
TNIE team: Cithara Paul, Rajesh Ravi, Anu Kuruvilla, S Neeraj Krishna, Mahima Anna Jacob, Anna Jose, Manisha V C S, Harikrishna B, T P Sooraj (photos), Pranav V P (video)