Where I fault this book is in the song examples covered. For the under 30 demographic, which I imagine this book is targeted at, the examples here are rather obscure. A good three quarters of them are from the 70s and earlier. That in itself I don't have a problem with, but where's the Zep, Hendrix, Who, Doors, Floyd, Beach Boys references? Aside from the Beatles and Berry and Elvis, there's not much mention of songs that would be indelible in a young person's mind, IOW, bands that made a huge social impact. Same with the newer stuff but it's even more spotty here, little mention of the likes of that class from a decade ago of Nirvana, Smashing Pumpkins, etc. - Train and Nickelback groundbreaking? Huh?!? My ears must have turned inside out. And one of the authors (a guy who co-wrote Eye of the Tiger), mentions his songs in examples ad-nauseum. It's one thing to casually mention some here or there to get his perspective as the writer, but IMO this comes off like a sleazy ploy to pump up royalties. I say this not as a fan of the all the bands or eras of music above but simply to illustrate the irony in what is preached by this book, that in which the successful writer should make his best effort to connect with her audience. I guarantee picking apart Survior and 38 Special songs is not the best avenue to achieve this.

All in all, this book is great info, just full of little things that might make you go 'hmmm'.

"Great Review"
Awesome book! It helped me win the Song of the Year contest at http://www.songoftheyear.com

"simply the best"
This book is simply the best book on songwriting...and i think i've read them all - believe me! It had a way of simplifying and demystifying the whole process of creating songs. Great for 'ol pros and also great for newcomers too. This book is top on my list.

"Songwriting For Dummies."
I learned some good things from this book, but I could have learned more if the book had been proof-read. The authors let a lot of obvious mistakes make it into the final version of the book which makes it hard to follow some of their examples. For instance they may go to great troubles in the text to explain what an ABABC rhyme scheme is; and then for an example of an ABABC rhyme scheme, they show you a lyric that is really in AABBC rhyme scheme. The examples are where most of the errors occur. The actual written text is pretty accurate; but when they magnify and pictorially break down song lyrics, a lot of times, their example fits another form than what they've been describing to you in the text which can confuse a new learner. No one seemed to realize this before the book was published either.

"For the New Kid on the Block to Seasoned Music Professional"
As an independent artist doing the music convention circuit and tackling a grass roots approach to the business as a new comer, I found "Songwriting for Dummies" refreshingly full of useful information. Additionally, much of the material gave inspiration and comfort to those with a penchant for the art of making music.

I have repeatedly heard the same 3 or 4 book titles mentioned as a "must have book" for anyone in the buiness. In my opinion "Songwriting for Dummies" blows the others away by simplifing many of the industry's mysterious and confusing terms while not striking fear into the heart of the rookie artist that is trying to grasp the many issues that are involved within the music business.

I read much of "Songwriting for Dummies" on my airplane ride home from a music conference I attended on the west coast. By the time the plane touched down I had a read much of the book and had written a new song for my next compilation that had come to me during that same flight. The song was written spontaneously on the 2 white, paper bags that were conveniently stored in the seat pocket in front of me, compliments of the airlines. This was a suggestion I followed from the authors on how to manage times when inspiration hits and one is without paper.

Later that month, I received an offer from a highly reputable company that required me to have some knowledge of what to ask in negotiating a contract as well as typical compensation. Luckily, I had my "Songwriting for Dummies" handy and was able to compare the information in the book to my offer to determine if it was fair and whether the typical legalities were addressed in the contract. Not only did I get a fair deal, I came across in a confident manner that enhance the contract relationship on both sides.

I suspect that future music conventions will be adding this fresh-to-the-market book to the top of the list of must-haves.....both for new comers and veterans in the biz.

Valerie Nager
EquinoxxMusic Producer