There is always an influx of singers and music directors in the film industry but not many lyricists. As it is, most producers and music directors prefer to work with familiar people, especially for big budget films

Yet Krishna Kanth, the lyricist from Nalgonda district is much in demand, though he made his debut with two songs in Andhala Rakshasi at a time when only names of Sirivennela Seetarama Sastry and Ananta Sriram were being heard. This year alone, he has penned 35 songs and has several coming up early next year too.

Krishna Kanth holds the education system responsible for the lack of promotion of Telugu writers. He says most schools and colleges offer foreign languages as an option and children pick them up as it helps them in their higher education. He adds, “Some speak Telugu fluently but can’t write. There aren’t many who have read Chandamama Kathalu or Kasi Majili Kathalu. Telugu grammar is not rocket science. In fact the film industry doesn’t ask for Sanskrit proficiency; no one is asking for vyakaranam and chandassu, just simple Telugu. Lyrics are simple these days.” He adds, “When a new lyricist approaches producers for work, they ask which film he had worked for earlier. You get a chance only if the film you worked in becomes successful. Getting the first chance is important and difficult.”

Success is tricky

Sometimes even if a film flops, but its songs become famous, the lyricist gets a break. Sometimes, lyricists bank on singers and music directors for instant success. Even before the film releases, it’s the music and the singer who take it forward, lyrics are noticed later. Take for instance Geeta Govindam. No one knew the fate of the film but Sid Sriram and his unique voice turned the tables. On the other hand, Chandrabose slayed it with his writing from the word go in Rangasthalam. The lyrics connected with listeners, everyone lapped it up. Krishna Kanth avers, “I made Sid Sriram croon Egire Egire in Shailaja Reddy Alludu and Maate Vinaduga in Taxiwaala. Both songs are chartbusters. In Rangasthalam, importance was more on lyrics than instruments and the story was set in the 80s. Directors Sukumar and Trivikram Srinivas spend a lot of time with the lyricists. Sukumar spends one or two months on a song and so you see the result.”

Krishna Kanth’s recent work includes Gang (chitike meeda chitike vesera), Awe, Chal Mohan Ranga (Ga ga Megha), Abhimanyudu, Krishnarjuna Yuddham, Ee Nagaraniki Yemaindi (Aagi aagi), Shailaja Reddy Alludu (Anu Baby)and now Taxiwaala and Padi Padi Leche Manasu. There’s one coming up in Saaho too.

He is all praise for Hanu Raghavapudi with whom he has been working since Andhala Rakshasi. Hanu apparently narrates the entire story and makes the work easier, unlike others who just give him a situation and tell him to write a song, unlike the trend in commercial cinema to ask the lyricist to come up with an intro song, climax song, item song, and so on.

Krishna Kanth, however, considers himself lucky for getting to work with young directors and makes an earnest plea to the producers to encourage new lyricists. On that note, he wraps up the conversation, “The producers of Goodachari, Kshanam, Antariksham have invested several crores on the projects by trusting new talent, i.e directors. I wish producers would show such generosity to lyricists too.”