Dory Previn

Dory Previn, born Dorothy Veronica Langan (October 22, 1925 – February 14, 2012), was an American lyricist, singer-songwriter and poet.

During the late 1950s and 1960s she was a lyricist on songs intended for motion pictures and, with her then husband, André Previn, received several Academy Award nominations. In the 1970s, after their divorce, she released six albums of original songs and an acclaimed live album. Previn's lyrics from this period are characterized by their originality, irony and honesty in dealing with her troubled personal life as well as more generally about relationships, sexuality, religion and psychology. Until her death, she continued to work as a writer of song lyrics and prose.

Other articles related to "dory previn, previn, dory":

Dory Previn (album)
... Dory Previn was the fifth solo studio LP by Dory Previn, released in September 1974 ... It was her first album for the Warner Brothers label, having left United Artists ...
Dory Previn - Discography - Compilation Albums
... Years (1993) EMI The Art of Dory Previn (2008) EMI Previn's material from her period with United Artists has been re-issued on CD under the Beat Goes On label ...
Academy Award For Best Original Song - List of Winners and Nominees - 1960s
... Johnny Mercer "Faraway Part of Town" — Pepe • Music Andre Previn • Lyrics Dory Langdon "The Green Leaves of Summer" — The Alamo • Music Dimitri Tiomkin • Lyrics ... David "Come Saturday Morning" — The Sterile Cuckoo • Music Fred Karlin • Lyrics Dory Previn "Jean" — The Prime of Miss Jean Brodie • Music and lyrics Rod ...
André Previn - Compositions - Notable Jazz and Pop Songs (from Soundtracks And/or Jazz Records - Selection)
... Like Young, Text of vocal version Paul Francis Webster (1959, for Previn's record Like Young ... others by Ella Fitzgerald and Perry Como) Why Are We Afraid?, Text of vocal version Dory Previn (1960, for The Subterraneans - recorded amongst others by André Previn (for the ...

Famous quotes containing the word previn:

    The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas the way jazz is performed is always more important than what is being performed.
    —André Previn (b. 1929)