I have always liked that NYC lyric ended on "tough". People who hate New York say it's big, loud and tough. Here, it's the city's virtues. "Proud" would be WRONG.
"Through The Sacrifice You Made, We Can't Believe The Price You Paid..For Love!"
I hate to jump on the William Finn bandwagon because I do love his work, but in "the I love you song", I always thought 'we always knew you were a champion, your sadness filled my room, dear if you should feel my gloom blame it on me" was a bizarre and unclear phrase; perhaps it's going over my head somehow.
oliva, I love Finn, but I wrote a few pages back that he tends to let his rhyming lead him by the nose through a lyric. The lines you quote seem like an example.
The above conversation about "la, a note to follow so" is seven years old and the video it pertains to is no longer available, but I have to agree that it's a terrible lyric. In fact, Douglas Adams wrote an entire essay about it.
If we’re talking bad lyrics, I think Mean Girls has too many clunkers to count. Which is puzzling to me because I actually think Nell Benjamin’s lyrics for Legally Blonde are great
Fun to see this thread back, curious to hear some examples from the last few years. I forget who said it, but one of my favorite criticisms of William Finn is that he "snatches at a rhyme like it's the last canape on the tray". I think Finn has even stated that he's not entirely sure what certain songs in In Trousers are meant to be about.
edit: Tootsie has some stinkers. The musical "lube" punchline in Whaddya Do doesn't make any sense. Ideally, the audience should fill in the missing words with something along the lines of "up your ass" by setting that rhyme up previously, but the line that the missing words actually would rhyme to is "We take that list and roll it in a ball", which doesn't rhyme with anything suggestive off the top of my head. Also, could a plate of humble pie be "overwhelming"? Would "everything you ever wanted in life" be capable of "laughing at you and calling you a jerk"?
I want to use this as a jumping off point for what I consider the most unfairly maligned lyric in Broadway history: "A lark that is learning to pray." There's literally nothing wrong with this lyric. No, larks can't learn to pray, but brooks don't laugh or trip, and chimes can't sigh, either. No ones' bothered by those other lyrics. They are all examples of poetic imagery. Maria is a free spirit who loves nature but is trying to force herself to conform to the rigid life of a cloister, thus all the references in the song's lyrics are to nature, freedom and religion. She is the lark who is learning to pray. It's a perfectly fine lyric.
I can't even list every lousy lyric/phrase/stanza I've heard being sung in a Broadway theatre. Slant rhymes especially seem to be all the rage nowadays, and it gets on me a little.
iwuldwf said: "I revisited some of The Prom recently and “I can guess your whole agenda / You be Elphie, I’m Galinda” is impressively bad."
Courtesy of Chad Beguelin- a lyricist who, ironically, has said before that he tries to form perfect rhymes as much as possible. I'll say this: I also think this is a clunky lyric, but Beguelin did a decent job lyric-wise with most of The Prom. Sure, it's no Hadestown, but it feels great to hear lots of pure rhymes, something most new musicals nowadays lack.