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.

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.

Skylark is the story of the tormented but glorious life and career of Johnny Mercer, and the first biography of this enormously popular and influential lyricist. Raised in Savannah, Mercer brought a quintessentially southern style to both his life in New York and to his lyrics, which often evoked the landscapes and mood of his youth ("Moon River", "In the Cool, Cool, Cool of the Evening"). Mercer also absorbed the music of southern blacks--the lullabies his nurse sang to him as a baby and the spirituals that poured out of Savannah's churches-and that cool smooth lyrical style informed some of his greatest songs, such as "That Old Black Magic". Part of a golden guild whose members included Cole Porter and Irving Berlin, Mercer took Hollywood by storm in the midst of the Great Depression. Putting words to some of the most famous tunes of the time, he wrote one hit after another, from "You Must Have Been a Beautiful Baby" to "Jeepers Creepers" and "Hooray for Hollywood." But it was also in Hollywood that Mercer's dark underside emerged. Sober, he was a kind, generous and at times even noble southern gentleman; when he drank, Mercer tore into friends and strangers alike with vicious abuse. Mercer's wife Ginger, whom he'd bested Bing Crosby to win, suffered the cruelest attacks; Mercer would even improvise cutting lyrics about her at parties. During World War II, Mercer served as Americas's troubadour, turning out such uplifting songs as "My Shining Hour" and "Ac-cent-tchu-ate the Positive." He also helped create Capitol Records, the first major West Coast recording company, where he discovered many talented singers, including Peggy Lee and Nat King Cole. During this period, he also began an intense affair with Judy Garland, which rekindled time and again for the rest of their lives. Although they never found happiness together, Garland became Mercer's muse and inspired some of his most sensuous and heartbreaking lyrics: "Blues in the Night," "One for My Baby," and "Come Rain or Come Shine." Mercer amassed a catalog of over a thousand songs and during some years had a song in the Top Ten every week of the year--the songwriting equivalent of Joe DiMaggio's hitting streak--but was plagued by a sense of failure and bitterness over the big Broadway hit that seemed forever out of reach. Based on scores of interviews with friends, family and colleagues, and drawing extensively on Johnny Mercer's letters, papers and his unpublished autobiography, Skylark is an important book about one of the great and dramatic characters in 20th century popular music.

An intimate biography of the great songwriter, this is also a deeply affectionate memoir by one of Johnny Mercer’s best friends. “Moon River,” “Laura,” “Skylark,” ”That Old Black Magic,” “One for My Baby,” “Accentuate the Positive,” “Satin Doll,” “Days of Wine and Roses,” “Something’s Gotta Give”—the honor roll of Mercer’s songs is endless. Both Oscar Hammerstein II and Alan Jay Lerner called him the greatest lyricist in the English language, and he was perhaps the best-loved and certainly the best-known songwriter of his generation. But Mercer was also a complicated and private man. A scion of an important Savannah family that had lost its fortune, he became a successful Hollywood songwriter (his primary partners included Harold Arlen and Jerome Kern), a hit recording artist, and, as co-founder of Capitol Records, a successful businessman, but he remained forever nostalgic for his idealized childhood (with his “huckleberry friend”). A gentleman, a nasty drunk, funny, tender, melancholic, tormented—Mercer was a man immensely talented yet plagued by self-doubt, much admired and loved but never really understood. In music historian and songwriter Gene Lees, Mercer has his perfect biographer, who deals tactfully but directly with Mercer’s complicated relationships with his domineering mother; his tormenting wife, Ginger; and Judy Garland, who was the great love of his life. Lees’s highly personal examination of Mercer’s life is sensitive as only the work of a friend of many years could be to the conflicts in Mercer’s nature. And it is filled with insights into Mercer’s work that could come only from a fellow lyricist (whose own lyrics were much admired by Mercer). A poignant, candid, revelatory portrait of Johnny.

John Herndon “Johnny” Mercer (1909–76) remained in the forefront of American popular music from the 1930s through the 1960s, writing over a thousand songs, collaborating with all the great popular composers and jazz musicians of his day, working in Hollywood and on Broadway, and as cofounder of Capitol Records, helping to promote the careers of Nat “King” Cole, Margaret Whiting, Peggy Lee, and many other singers. Mercer’s songs—sung by Bing Crosby, Billie Holiday, Judy Garland, Frank Sinatra, Ella Fitzgerald, Tony Bennett, Lena Horne, and scores of other performers—are canonical parts of the great American songbook. Four of his songs received Academy Awards: “Moon River,” “Days of Wine and Roses,” “On the Atchison, Topeka, and the Santa Fe,” and “In the Cool, Cool, Cool of the Evening.” Mercer standards such as “Hooray for Hollywood” and “You Must Have Been a Beautiful Baby” remain in the popular imagination. Exhaustively researched, Glenn T. Eskew’s biography improves upon earlier popular treatments of the Savannah, Georgia–born songwriter to produce a sophisticated, insightful, evenhanded examination of one of America’s most popular and successful chart-toppers. Johnny Mercer: Southern Songwriter for the World provides a compelling chronological narrative that places Mercer within a larger framework of diaspora entertainers who spread a southern multiracial culture across the nation and around the world. Eskew contends that Mercer and much of his music remained rooted in his native South, being deeply influenced by the folk music of coastal Georgia and the blues and jazz recordings made by black and white musicians. At Capitol Records, Mercer helped redirect American popular music by commodifying these formerly distinctive regional sounds into popular music. When rock ’n’ roll diminished opportunities at home, Mercer looked abroad, collaborating with international composers to create transnational songs. At heart, Eskew says, Mercer was a jazz musician rather than a Tin Pan Alley lyricist, and the interpenetration of jazz and popular song that he created expressed elements of his southern heritage that made his work distinctive and consistently kept his music before an approving audience.

From "Begin the Beguine" to "It's Delovely" to "My Heart Belongs to Daddy" and "I Get a Kick Out of You", here are the complete lyrics to the much-loved songs of Cole Porter--800 songs meant to be hummed, sung, danced to, and remembered. "A record of (Porter's) artistic development and of the time in which he flourished".--Rhoda Koenig, New York Magazine.

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