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A vast anthology bringing together more than one thousand of the best American and English lyrics of the twentieth century, this is an extraordinary celebration of a unique art form.
Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim.
Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”).
Robert Gottlieb and Robert Kimball have created an indispensable reference work and history. The lyricists are presented chronologically, each introduced by a succinct biography and incisive commentary. Reading Lyrics is a magnificent gathering of words whose power to stir memories and evoke romance is akin to that of lyric poetry. Collected in one volume, it represents one of the twentieth century’s most enduring and cherished legacies.
- Sales Rank: #245933 in Books
- Published on: 2000-11-21
- Released on: 2000-11-21
- Original language: English
- Number of items: 1
- Dimensions: 9.55" h x 1.47" w x 7.00" l, 2.53 pounds
- Binding: Hardcover
- 736 pages
From Library Journal
Gottlieb (editor, Reading Jazz) and Kimball (editor, The Complete Lyrics of Ira Gershwin) have assembled 1000 popular American and English song texts dating from 1900 to 1975 and arranged them chronologically by lyricist's birth date. Focusing solely on theater and film songs, the editors profile more than 100 songwriters, including Cole Porter, Oscar Hammerstein, Yip Harburg, and Stephen Sondheim. Each entry details their musical contributions and three or more lyrics with verse(s) and refrain. Country, rock, folk, and blues numbers go unmentioned, as they would not have fit in this single volume. "One-hit wonders" are also listed at the back along with an index of song titles. The inclusion of lesser-known songs by major figures such as Irving Berlin or by little-remembered writers such as Mann Holiner or Sam Coslow seems to pad the volume rather than enhance its usefulness. Unfortunately, the title, too, is misleading: Reading Lyrics is more of a compilation than an interpretative work. This book is recommended, however, as a sanctioned print alternative to various lyric web sites for libraries serving a clientele seeking popular song texts and information.DBarry Zaslow, Miami Univ. Libs., Oxford, OH
Copyright 2000 Reed Business Information, Inc.
From Booklist
Most people remember a song better than they remember a poem. During the 1900^-75 scope of this sterling anthology, remembering a song was remembering a poem. That span was the heyday of the classic American popular song, which re-expressed all the old emotions in language invigorated by the dialects of all the external and internal immigrants drawn to America's burgeoning industrial centers. The typical classic American popular song--any of the 1,000-plus examples editors Gottlieb and Kimball have chosen--is rife with those pnemonic aids par excellence, rhyme and wordplay. Accordingly, you could use the book for a party game, the object of which would be seeing who recalls the most songs and, beyond that, can sing them. With lyricists including all the superstars, from Cohan to Sondheim, and plenty whose songs' fame have outlived that of their names, such as Haven Gillespie ("Santa Claus Is Comin' to Town") and Edward Eliscu ("Without a Song"), the party could take all of a grand night for singing. Oh!--get a copy for the reference desk, too. Ray Olson
Copyright © American Library Association. All rights reserved
Review
“Indispensable, stellar new anthology. This eclectic book provides enough humor, romance and sophistication to make you forget that Seussical even existed.”
—Jason Zinoman, Time Out New York
“This music is an amazing art form; it’s a substantial cultural phenomenon.”
—Newsweek
“Reading Lyrics is both a groundbreaking social document and its own pleasure dome. Its seven hundred and six pages confirm the accomplishments of the greats, but they also provide surprises.”
—The New Yorker
“America was the laboratory that proved Plato’s contention that songs are ‘spells for souls for the creation of concord.’ If you read between the lines of many of the lyrics in the anthology, you hear an alarmed society calming its frazzled nerves.”
—The New Yorker
“[Reading Lyrics] defies literary categorization. It’s reference work. It’s a singalong book . . . It’s a shadow history of taste and mores over much of the past century. It’s a valentine to a now-vanished artistic craft. And it’s an act of fond provocation.”
—The Boston Globe
“Reading Lyrics demonstrates one of the may magic tricks that words can do: the way that letters and lines on a page can (with years of practice) learn how to carry a tune.”
—Elle
“With around 170 lyricists on offer, the book makes its share of worthwhile rediscoveries . . . That’s the fun of Reading Lyrics. Readers can hum along with songs they know, while songs they don’t will have them hurrying off to the nearest music megastore.”
—The New York Times Book Review
“Sparklingly entertaining, Reading Lyrics exalts the lyrical sublimity of such cunning wordsmiths as Porter, Gershwin, and Coward.”
—Vanity Fair
“Tuneless, but what joy! . . . For no sooner do the lyrics appear before one’s eyes than reading gives way to song.”
—Billboard Magazine
“This wondrous and magical concoction is highly recommended.”
—Wall Street Journal
“This is one of the finest collections of words there is. To quote P.G. Wodehouse. . . ‘And I wish someday I could find my way/To the land where the good songs go.’ That land is Reading Lyrics. ‘S wonderful.” —Newsday
Most helpful customer reviews
38 of 40 people found the following review helpful.
Great Compendium of Popular Song Lyrics
By Dan Sherman
This book pulls together something more than 1,000 sets of lyrics of the best known American popular songs from 1900 to 1975. It is a wide and well chosen selection that gives lots of coverage to well-known lyricists like Ira Gershwin, Lorenz Hart,Oscar Hammerstein, and Stephen Sondheim. It also provides lyrics for a lot of other well-known songs by less well-known lyricists. If you like American popular music, you will probably finding yourself lost in this book, looking and finding your particular favorite songs and going off to listening to some great recordings of the songs from which the lyrics are taken. The book is laid our well with clear print and with a good index.
4 of 4 people found the following review helpful.
Essential reference book
By Gerald Siegel
I got my copy from a used supplier as a remainder at a fine price. It is an essential compilation of great lyrics. Quite simply, if you like great music and the lyricists of the last century, how can you not seek this one out before it becomes hard to find.
19 of 19 people found the following review helpful.
Excellent to have around when you can't remember the words!
By 35-year old wallflower
I've conquered music reviews & the occasional movie one, but I had yet to try my hand at a book review. However, with this book, I just had to write about it & alert people to this great collection of some of the greatest words ever put to music in history. Some may wonder why certain songs from a certain lyricist are the only ones represented, but I imagine the lyrics that have best stood the test of time or are truly representative of the greatest of the person's repertoire are what's included. For a complete collection of lyrics, most likely a composer will have something of the sort published somewhere, but READING LYRICS is an excellent taster for those wanting to dive in.
Most music lovers of my generation like to listen to music where lyrics take second place to rhythm or melody, with the volume of both enough to render such good words useless. READING LYRICS looks at the first 3 quarters of the last century, perhaps the stretch of time when you could still hear what was being sung & eventually get the lyrics etched into your brain enough to repeat them at will. Naturally, those songs from the annals of musical theatre take up a fair share of the book, but that after all was its golden age until maybe the second half of the 1900s, when popular music truly became "popular" & theatre became more of a higher art. Both genres are represented on READING LYRICS (although this review is far from comprehensive what with the hundreds of lyricists discussed in here).
Even the most famous & worthy of household name status of songwriters get an inventory in READING LYRICS. True superstars of songwriting like Ira Gershwin, Irving Berlin & Cole Porter are represented in READING LYRICS, although I imagine finding which songs to use was quite the struggle with all of their extensive outputs. However, all three helped expand the vocabulary of popular songwriting away from simple rhymes like "moon" with "June".
Gershwin couldn't be accused of following such methods, for time-honored classics like "But Not For Me", "Embraceable You", "Love Is Here To Stay" & "Someone To Watch Over Me" managed to be intelligent yet accessible at the same time. And that's just Ira's work with his brother George! Even after George's death, Ira kept on working with other collaborators, creating classics like "The Saga Of Jenny" (with Kurt Weill) & "I Can't Get Started" (with Vernon Duke).
Berlin was certainly more of a "people's songwriter" with lyrics that were easy to sing & remember, but by no means simplistic. Out of the thousands of songs he penned (both music & lyrics), "Supper Time" is perhaps the one to truly call Berlin's best, with its heartwrenching tale of prejudice against African-Americans written at a time when such racism was still a fact of life. In fact, Ethel Waters, who popularized the song, claimed it represented the Black experience better than any other song she sang. He may have also wrote the patriotic "God Bless America" (quite the statement from a Russian-born immigrant), but I think he never played into the hands of any specific politics & for that Berlin should be commended.
However, maybe THE classiest lyricist of all was (a Hoosier no less) Cole Porter, who, like Berlin, wrote both music & lyrics, which was no easy feat in that time. Of course, Porter was known for his extensive mastery of the English language in his music, with more internal rhymes than you can shake a stick at, thus making his songs both a challenge to sing & still contemporary even today. A great deal of Porter's songs rode on acerbic wit (like Stephen Sondheim's music of today), with a few notable examples like "It's De-Lovely" (to sing all of it, verses & refrains, would take all day), "Let's Do It" (which had "Let's Fall In Love" added to it so radio could play it), "Miss Otis Regrets" & "My Heart Belongs To Daddy" (its masochistic lyric is still a scorcher even now). But at the same time, Porter could be heartfelt when he wanted to, as proven by "True Love", "You'd Be So Nice To Come Home To", "Just One Of Those Things" & even "Love For Sale" (its bouts with censorship are legendary). Cole Porter's run-ins with the censors would fill a book in itself, but let's just say that in this day & age of outright profanities being used, Porter's way with words still retains its power to shock & amuse.
That's not even the half of what READING LYRICS does to recount the greatest of American popular songwriting. But because of space restrictions, I just thought I'd point out some of my personal favorites. Nevertheless, READING LYRICS still contains a wide range of lyricists, from the absolutely famous (Oscar Hammerstein II, Stephen Sondheim & Noel Coward) to the semi-famous waiting to be rediscovered (Frank Loesser, Johnny Mercer & Hoagy Carmichael) to ones whose songs may be more famous than their authors (too many to mention).
Each chapter in READING LYRICS features a short blurb on the songwriter's life & times, and their life's work with the occasional fun fact. For example, Jack Yellen's song "Happy Days Are Here Again" was adopted as FDR's campaign theme despite Yellen himself being a Republican. Maybe he was still grateful for the attention & the fact that the song became one of the most popular of the Depression era. But considering Yellen's politics, who knows if songs about wild women like "Hard-Hearted Hannah" & "Louisiana Lou [The Vampin' Lady]" really were what he thought about women & are all that popular with feminists today?
Anyhow, READING LYRICS is a good refresher course for anyone wanting to learn about popular music's golden age or, even better, for someone wanting to explore songwriting themselves. If a second volume is in the works, I'll be sure to put in my order for it soon enough!
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