"Lyrical Love Lines..." is a book of love poetry written from a whole different prospective and much better style than the typical "Roses are red, violets are blue" type poems that maybe you've heard and read. It's chapters are categorized into three aspects: Love, Problems and Passion to either help inspire healthier relationships, aide in decreasing dismay or animosity if things go wrong in the relationship or perhaps increase the desire and intimate emotions for your particular partner. Every reader may not be able to relate to every single poem in the book but should be able to find some poems that fits their relationship, respectively. Also, since everyone's emotions might not be as strong for their partner as some of the poems displayed in the books writings or they might not be able to relate to the entire poem, readers are encouraged to be creative and ad lib parts of the poems to their liking, as long as it is not done with the intention to plagiarize or have self-claim. For instance, since the author of the poetry is of the male gender, the poems was written from a male-to-female prospective but females are free to ad lib and change parts of the poetry to fit their gender. Therefore, explains the latter part of the title "...Of Yours And Mine" because the author hopes that this book will benefit the readers as much as it has benefited him in points of some of his relationships. Although this book would make an excellent Valentine's Day gift, nevertheless, it is a book that could be enjoyed all year long.

The lyrics to all the Beatles' best loved songs. Complete with a full discography, detailing singles, EP's and albums, recording dates and lead singer credits.

The only major collection of illustrated Beatles lyrics in book form, this commemorative edition features autobiographical comments and quotes from the Fab Four, interpretation of the lyrics from 206 songs, lavish, full-color illustrations, and specially commissioned photographs.

This is a book of poetry as well as music for coming albums from Renaldo " Da Beast Bearrilla " Gary. Urban music and poetry are frowned upon at times, creating a barrier in breakdown or understanding. These lyrics and poems are being shared to give vivid imagery of urban life in which some lives are based on. Coming from this and other walks me life, through perils of myself and others comes the paintings to your minds canvas. Consider lyric a prelude to a sensual stunning display of talent showing you there is more to life for lower and middle class than jail, struggle, and strife through life’s tribulations. Keep in mind while reading, you are to examine the negative to focus on the positive. From there selections will come the double disc debut album name DVD. 727, 813, 941, 239, 305, 786, 313, 242, 876 better yet nation and worldwide stand up!!

The last of the literary genres to be incorporated into print culture, verse in the English Renaissance not only was published in anthologies, pamphlets, and folio editions, it was also circulated in manuscript. In this ground-breaking historical and cultural study of sixteenth- and early seventeenth-century lyric poetry, Marotti examines the interrelationship between the two systems of literary transmission and shows how in England manuscript and print publication together shaped the emerging institution of literature. Surveying a wide range of manuscript and print poetry of the period, Marotti outlines the different social and institutional contexts in which poems were collected and transmitted. He focuses on the two kinds of verse that were circulated more commonly in manuscript than in print—the obscene and the political—and he considers the contributions of scribes and compilers, particularly in composing "answer poetry" and other verse. Analyzing the process through which print gradually replaced manuscript as the standard medium for lyric verse, he identifies four crucial events in the history of publication in England: the appearances of Tottel's Miscellany ( (1557), Sir Philip Sidney's works in the 1590s, Ben Jonson's folio Workes (1616), and the posthumous editions of the poems of Donne and of Herbert (both 1633). Marotti also considers how certain material features of the book determined the reception of poetry, and he explores how poets attempted to establish their authority in print in relation to publishers, patrons, and readers.

The seventh volume in Knopf’s critically acclaimed Complete Lyrics series, published in Johnny Mercer’s centennial year, contains the texts to more than 1,200 of his lyrics, several hundred of them published here for the first time. Johnny Mercer’s early songs became staples of the big band era and were regularly featured in the musicals of early Hollywood. With his collaborators, who included Richard A. Whiting, Harry Warren, Hoagy Carmichael, Jerome Kern, and Harold Arlen, he wrote the lyrics to some of the most famous standards, among them, “Too Marvelous for Words,” “Jeepers Creepers,” “Skylark,” “I’m Old-Fashioned,” and “That Old Black Magic.” During a career of more than four decades, Mercer was nominated for the Academy Award for Best Song an astonishing eighteen times, and won four: for his lyrics to “On the Atchison, Topeka, and the Santa Fe” (music by Warren), “In the Cool, Cool, Cool of the Evening” (music by Carmichael), and “Moon River” and “Days of Wine and Roses” (music for both by Henry Mancini). You’ve probably fallen in love with more than a few of Mercer’s songs–his words have never gone out of fashion–and with this superb collection, it’s easy to see that his lyrics elevated popular song into art.

Many books have appeared over the years about the Beatles lyrics -- about the words of those songs which the whole world knows and sings, and will sing for ever, as long as we have the breath to hum the tunes. But no one has ever tried to track down and publish the original versions of the classic songs -- showing the words in the Beatles' own handwriting, how they first wrote them, how they scribbled them down on pieces of paper or backs of envelopes, with all the crossings out and changes. By revealing and publishing these original manuscripts for the first time we gain a unique insight into the creative process of Lennon and McCartney, how they did it, what they were thinking, how they changed their minds, and then came up with the words we now all know. Such a book has never been published, firstly because of copyright reasons, with ownership divided between Michael Jackson and Sony, and secondly because no one has been able to track them all down. The author of the only authorised biography of The Beatles, Hunter Davies, has sought out nearly one hundred Beatles lyrics. His expert introduction describes the creativity of the greatest ever rock band -- then he lists and illustrates each song, in chronological order, putting each song in context: what the Beatles were doing at the time, how and when they came to write and then record it, how the original version differs from the final one. The wonder is that almost every Beatles song has a great story behind it -- whether it is 'In My Life', 'For No One', 'Yesterday', 'Eleanor Rigby', or 'Yellow Submarine'.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Alan Jay Lerner wrote the lyrics for some of the most beloved musicals in Broadway and Hollywood history. Most notably, with composer Frederick Loewe he created enduring hits such as My Fair Lady, Gigi, Camelot, and Brigadoon. In The Complete Lyrics of Alan Jay Lerner, editors and annotators Dominic McHugh and Amy Asch bring all of Lerner's lyrics together for the first time, including numerous draft or alternate versions and songs cut from the shows. Compiled from dozens of archival collections, this invaluable resource and authoritative reference includes both Lerner's classic works and numerous discoveries, including his unproduced MGM movie Huckleberry Finn, selections from his college musicals, and lyrics from three different versions of Paint Your Wagon. This collection also includes extensive material from Lerner's two most ambitious musicals: Love Life, to music by Kurt Weill, and 1600 Pennsylvania Avenue, which Lerner wrote with Leonard Bernstein.