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His most recent Number One, "The Monster," features bonkers couplets like "Straw into gold chump, I will spin/Rumpelstiltskin in a haystack/Maybe I need a straight jacket, face facts." Like his character in the 2002 biopic 8 Mile, Eminem honed his formidable skills in Detroit rap battles, then polished his rhymes in the studio over springy Dr.Dre tracks that gave him room to freak out as agilely and aggressively as he liked.
The two of them were hardcore about songwriting: they bought a cottage on the island of Viggsö where they could focus on making their music and lyrics as catchy as humanly possible.
"Hi, I'm Taylor," she told the crowds on her Red tour. I'm told I have a lot of feelings." Swift's first three albums display her emotional yet uncommonly inventive country style — even early hits like "Our Song" and "Tim Mc Graw" sound like nobody else.
(Only she could slip the line "Any snide remarks from my father about your tattoos will be ignored" into a teen romance like "Ours.") But she's really hit her stride with the pop mastery of Red and 1989, especially on confessional ballads like "Clean" and "All Too Well." There's no limit to where she can go from here.
The duo has also penned hits for other artists including SWV's "Can We," Total's "Trippin'" and Tweet's "Call Me." Missy hasn't released a new album for 10 years, but she and Timbaland have dropped hints that they've got something brewing.
America first discovered the Bee Gees with the 1977 disco soundtrack Saturday Night Fever.
Or softer, depending on how you look at it." Westerberg has his own explanation for his unique underdog genius: "I think the opposite when I see something," he once said.
"I have dyslexia, and I've used it to its best advantage." With a talent for wordplay that can be as head-spinning as it is disturbing, and a knack for incessant sing-song choruses that suggest he might've thrived in a Brill Building cubicle, Eminem crams hugely popular songs with more internal rhymes and lyrical trickery than anyone else in contemporary pop.
Maybe it's his family's blue-collar background or the years he spent delivering mail before becoming a full-time musician.
But John Prine has always had the innate ability to emphatically capture the highs, lows and occasional laughs of everyday Americans and fringe characters: the drug-addled vet in "Sam Stone," the lonely older folks in "Angel from Montgomery" and "Hello in There." One of a group of early Seventies singer-songwriters to get pegged with the unfortunate tag "New Dylan," Prine has written poignant songs of romantic despair ("Speed of the Sound of Loneliness"), songs that sound like centuries-old mountain ballads ("Paradise") and ribald comic masterpieces aimed at advice columns and various crazies.
After the band split up, Ulvaeus and Andersson went on to collaborate on several musicals — including the Abba jukebox musical, Mamma Mia! Hall was an English major who said he learned to write songs by osmosis, soaking up everything from Dickens to Hemingway.
His best work was charged with literary irony but unfolded with the ease of spoken language, as when the mini-skirted heroine of "Harper Valley P. A." struts into the local junior high and exposes small-town hypocrisy by asking why Mrs.
"You write a song about something that you think might be taboo, you sing it for other people and they immediately recognize themselves in it," Prine says. You admit everything that's wrong and you talk about it in the sharpest terms, in the keenest way you can." "Back then, I just wanted to write songs I could be proud of and be able to play in five years," Billie Joe Armstrong said last year of his attitude while creating Green Day's 1994 pop-punk breakthrough Dookie.