Michael Owen

That was Lee Wiley, recorded in the 1930s, singing the Gershwin song, But Not For Me. My guest, Michael Owen, is the author of a new book called Ira Gershwin, A Life in Words. What was their approach to writing together? Everybody wants to know what came first, the words or the music. And their approach to writing together changed over the years.

That was Lee Wiley, recorded in the 1930s, singing the Gershwin song, But Not For Me. My guest, Michael Owen, is the author of a new book called Ira Gershwin, A Life in Words. What was their approach to writing together? Everybody wants to know what came first, the words or the music. And their approach to writing together changed over the years.

That was Lee Wiley, recorded in the 1930s, singing the Gershwin song, But Not For Me. My guest, Michael Owen, is the author of a new book called Ira Gershwin, A Life in Words. What was their approach to writing together? Everybody wants to know what came first, the words or the music. And their approach to writing together changed over the years.

It did. Ira jokingly would usually say that what came first was the contract.

It did. Ira jokingly would usually say that what came first was the contract.

It did. Ira jokingly would usually say that what came first was the contract.

Sammy Cahn used to say that, too. Yes, I think they all said that. I think they all said that.

Sammy Cahn used to say that, too. Yes, I think they all said that. I think they all said that.

Sammy Cahn used to say that, too. Yes, I think they all said that. I think they all said that.

Yes, in the early days, and I would say that it would have been from the 20s into the mid-1930s, it was usually George's melodic ideas that started the ball rolling for a song. And it might just have been a fragment of a melody. And Ira had a very good memory for melodies, even though he couldn't really play the piano.

Yes, in the early days, and I would say that it would have been from the 20s into the mid-1930s, it was usually George's melodic ideas that started the ball rolling for a song. And it might just have been a fragment of a melody. And Ira had a very good memory for melodies, even though he couldn't really play the piano.

Yes, in the early days, and I would say that it would have been from the 20s into the mid-1930s, it was usually George's melodic ideas that started the ball rolling for a song. And it might just have been a fragment of a melody. And Ira had a very good memory for melodies, even though he couldn't really play the piano.

But he did remember them in a certain way that kept them in his mind and could bring them back and try to remind his brother of something that might have been brought up a few months earlier. And it was a very unique relationship. I mean, I know that Every songwriter worked in a different way. Songwriting partnerships worked in different ways.

But he did remember them in a certain way that kept them in his mind and could bring them back and try to remind his brother of something that might have been brought up a few months earlier. And it was a very unique relationship. I mean, I know that Every songwriter worked in a different way. Songwriting partnerships worked in different ways.

But he did remember them in a certain way that kept them in his mind and could bring them back and try to remind his brother of something that might have been brought up a few months earlier. And it was a very unique relationship. I mean, I know that Every songwriter worked in a different way. Songwriting partnerships worked in different ways.

But typically over the years, Ira would be at a little card table next to George at the piano. And he would have his big sheets of paper with him, and he would just gribble out ideas.

But typically over the years, Ira would be at a little card table next to George at the piano. And he would have his big sheets of paper with him, and he would just gribble out ideas.

But typically over the years, Ira would be at a little card table next to George at the piano. And he would have his big sheets of paper with him, and he would just gribble out ideas.

And if you looked at some of the archival material that I used in writing this book and went through Ira's papers as I did, you can see the vast amount of changes and ideas that flowed through his head as his brother was elaborating on these melodies.

And if you looked at some of the archival material that I used in writing this book and went through Ira's papers as I did, you can see the vast amount of changes and ideas that flowed through his head as his brother was elaborating on these melodies.