The Modern Rhyming Dictionar

Oscar Hammerstein believed that each of us may have "one good song" within us, waiting to "come out into the light." Hammerstein wrote with authority (he had huge hit shows, with both Richard Rodgers and Jerome Kern) that, "If I meet a man with just one song, I'd be more interested in that man than those who have 'written 400.' I believe that anyone who stated sincerely what was in his heart, could not only write a song, but get it published, because it would be sure to be a good song." (More words of advice from the greatest 'theatrical' lyricist in a moment.) Look, forget the "rhyming dictionary" part of this book (I have several of those). What sets this book apart as "essential reading" for would-be song-writers is the first 50 pages: the best advice frustrated song-writers (like me) will ever find -- anywhere! As I type this I have two 'classics' of the genre in front of me: Oscar Hammerstein's book, titled simply, "LYRICS," and Ira Gershwin's "LYRICS ON SEVERAL OCCASIONS." If both those giants of the art were still with us, I'm certain they'd agree that Gene Lees has written the best book of its kind. And, whether or not your "one great song" ever sees the light of day, you'll have much fun reading what Mr. Lees has to say. Just one example: There was a night in 1967 the Canadian-born jazz writer 'crossed paths' with Nancy Sinatra (even if they didn't actually meet). I close my eyes and imagine Frank Sinatra emerging from a night-time session with Claus Ogerman's stellar orchestra (for Sinatra's album with Antonio Carlos Jobim) and immediately starting work with another, much smaller group of musicians, assembled by his first-born, Nancy, for the duet with her Dad that would sell a million copies. I imagine Gene Lees feeling so lucky, that the stars had finally aligned in his own life; sitting off to one side by himself, perhaps, watching and listening in amazed silence, (pinching himself to make sure it was true?) as Sinatra brought to life, as only he can, the English words Lees had composed for one of Jobim's loveliest songs, QUIET NIGHTS OF QUIET STARS ("quiet notes from my guitar") And there was Mr. Jobim himself, Brazil's Cole Porter (as I've always thought of him) plucking the strings of his own guitar, while the greatest singer of them all worked his magic. Recalling that moment, Lees said: "After Frank had rehearsed 'Quiet Nights' a few times, he said, 'There are a lot of esses (S's) in this song.' And so there are. I had never noticed it before." ---- I know what it's like to treasure every word Sinatra says to you (he once directed 50 words my way) and so it seems perfectly natural that Lees never stopped thinking about what Frank said: That seemingly throw-away remark prompted Lees to reflect, deeply, years later in his advice to those of us who'd love to write at least "one good song lyric." "Recording engineers," said Lees, "don't like the letter `S' because it presents them with an equalization problem. If they boos

I am a lyricist and have written about 25 songs, the one song I was stuck on and viola after consulting your book I found the help I needed.I reccommend this to any songwriter no matter how successful they are you are never to old to learn. I am 70.

Very helpful tutorial for aspiring song writers and dabblers in composing poetry. An excellent place to start. Useful desktop reference.

I have used this book extensively in my search for the proper form and rhyme in my lyrics. I've bought several copies to give to friends and students. A must in any songwriter's library of resources.