who wrote papa was a rolling stone lyrics
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Papa Was a Rollin' Stone "Papa Was a Rollin' Stone" is a psychedelic soul song, written by Motown songwriters Norman Whitfield and Barrett Strong as a single for Motown act The Undisputed Truth in 1971. This version of "Papa" was released as a single in May 1972 and peaked at #63 on the Pop Charts and #24 on the R&B Charts, and was included on The Undisputed Truth's 1973 album "Law of the Land". Later that year, Whitfield, who also produced the song, took "Papa Was a Rollin' Stone" and remade it as a 12-minute record for The Temptations, which
Papa Was a Rollin' Stone
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Papa Was a Rollin' Stone "Papa Was a Rollin' Stone" is a psychedelic soul song, written by Motown songwriters Norman Whitfield and Barrett Strong as a single for Motown act The Undisputed Truth in 1971. This version of "Papa" was released as a single in May 1972 and peaked at #63 on the Pop Charts and #24 on the R&B Charts, and was included on The Undisputed Truth's 1973 album "Law of the Land". Later that year, Whitfield, who also produced the song, took "Papa Was a Rollin' Stone" and remade it as a 12-minute record for The Temptations, which
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of Los Angeles united under the name Total Concept Unlimited. In 1973, this collective toured England and Japan behind Motown soul star Edwin Starr. Starr introduced them to Norman Whitfield, Motown's 'psychedelic shaman' who was responsible for bringing a progressive funk-rock slant to the company, via such productions as Starr's "War", The Undisputed Truth's "Smiling Faces Sometimes" and The Temptations' "Papa Was A Rolling Stone". Whitfield, after a decade at Motown, wanted to start a company of his own. He took the T.C.U. octet under his wing and signed them to his label. The group, now called Magic Wand, began
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song is based on teen gossip he heard outside his recording studio, which has a large front window that doubles as a mirror where schoolgirls from the North Hollywood High School in Los Angeles regularly stopped to fix their hair and chat. The song was sent to Madonna by Michael Ostin, the same Warner Bros. executive that discovered "Like a Virgin". Madonna only contributed with some additional lyrics, making "Papa Don't Preach" the only song on the album that she did not have a strong hand in writing. In 2009, during an interview with "Rolling Stone" Madonna was asked by
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Like a Rolling Stone "Like a Rolling Stone" is a 1965 song by the American singer-songwriter Bob Dylan. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England. Dylan distilled this draft into four verses and a chorus. "Like a Rolling Stone" was recorded a few weeks later as part of the sessions for the forthcoming album "Highway 61 Revisited". During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in 3/4 time. A breakthrough was
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"Nessuno". Articolo 31's version is a hip-hop song which contains overdubs of a confused girl's voice, rapped parts and DJing. This version contains only three verses and is four and a half minutes long. Like a Rolling Stone "Like a Rolling Stone" is a 1965 song by the American singer-songwriter Bob Dylan. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England. Dylan distilled this draft into four verses and a chorus. "Like a Rolling Stone" was recorded a few weeks later as part of
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America, but within the context of the U.S. invasion of Iraq, the song received new life as a single in 2005 when a live version was released from Browne's Solo Acoustic, Vol. 1 album. The song, Mark Coleman says in the Rolling Stone Record Guide, "is a cutting slice of social observation," as demonstrated in the chorus: Jimmy Guterman, in his 1986 "Rolling Stone" review of the "Lives in the Balance" album, wrote approvingly of the lyrics of the song: "For Browne, our crimes in Central America are the clearest example of the wrongheadedness of U.S. foreign policy. 'Who are
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Pleasure Seekers became Cradle. It was when Mickie Most saw Quatro perform the song with Cradle that he decided to sign her as a solo act. The version of the song on this ("Rolling Stone") single is a re-recording with Quatro and session players. The song "Rolling Stone" was initially written by Phil Dennys (the person who did arrangements for Jade). The lyrics were rewritten by Hot Chocolate front man Errol Brown (and Quatro herself, uncredited) to be more suitable for Quatro. Rolling Stone (Suzi Quatro song) "Rolling Stone" is Suzi Quatro's debut solo single released in 1972. Quatro's name
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courage of their pretensions" with poor lyrics. In "The New Rolling Stone Album Guide", "Rolling Stone" journalist Mac Randall felt that the album's music lacks songform, even though it sounds more accessible than "Tweez": "[t]he absence of anything resembling a tune continues to nag." In 2003, "Pitchfork" wrote of "Spiderland": "a heady, chilling listen; the irregularity of its hypnotic melodies, fractured beats and mismatched lyrics demand a new kind of appreciation, independent of traditional notions of songcraft. With its half-mumbled, half-hollered vocals, deliberate percussion and drone-gone-aggressive guitars, "Spiderland"<nowiki>'</nowiki>s urgency is almost traumatic to swallow: despondency never tasted so real." They
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what they wanted. During his appearance on "The O'Reilly Factor," Manson also said that his lyrics do not promote suicidal thoughts but that they encourage getting through feelings like that. Two months after the Columbine shooting, "Rolling Stone" published an article by Marilyn Manson entitled, "Columbine: Whose Fault Is It?" In the article, he wrote that his lyrics are often misinterpreted, and that people believe that he is promoting things that he is actually trying to decry. In the "Rolling Stones" article, Manson also wrote that society's in-depth coverage of the Columbine tragedy was more gruesome than typical entertainment. In
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lyrics, which address the refugee crisis, lean hard on the maudlin side, which is not an unfamiliar space for the band to be." Althea Legaspi of "Rolling Stone" magazine wrote: "The song's pulsating rhythms emulate the racing heartbeat that might accompany searching for safety in a bleak world." Bianca Gracie of Fuse called the melody "blippy" and "space-age". Darragh Berry of "Joe" wrote that the song has "the distinctive Coldplay sound" and called the lyrics "deep" and "meaningful". The animated lyrics video was directed by Diane Martel and Ben Jones. It shows a family running from explosions on the ground
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Scars (Papa Roach song) "Scars" is the second single from the band Papa Roach's third album, "Getting Away with Murder", and seventh released single in total. As with several of their other songs, Papa Roach has performed "Scars" live with Spanish lyrics. Lead singer Jacoby Shaddix wrote the song after being taken to a hospital in Las Vegas, Nevada with 11 staples in his head in an act of self-harm. Shaddix told MTV News that the song was "about trying to help someone who really doesn't want you to help them". The lyric "The scars remind us that the past
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digital single. Upon its release, music critics noted it was a rock and roll song, that includes elements of blues. According to Jon Blistein from "Rolling Stone", the "Trouble" lyrics "[seem] to be channeling [Richards'] inner Lou Reed". Marc Seliger said the lyrics "[appear] to be about a female friend who has landed behind bars." Rachel Brodsky from "Spin" said, "['Trouble'] sounds as solid and agreeable as it gets: edgy enough to make youngins do a brief double-take and classic rock enough to add it to your dad’s repertoire." Nick DeRiso wrote that Richards "moves with a loose-elbowed sense of
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deal of debate. The lyrics of "Talk About The Blues" address this issue referring directly to MTV and "Rolling Stone" magazine and features the line "I do not play no blues, I play rock 'n' roll" (which itself was a reference to the Mississippi Fred McDowell album "I Do Not Play No Rock 'n' Roll"). "Talk About The Blues" was a reaction a "Rolling Stone" review of "Now I Got Worry" and Q&A with Jon Spencer. "I wrote the song right after we did the interview, inspired by that and also some of the criticism we’ve received over the past
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Love" is a combination of the works by Phil Collins and Lionel Richie and Timberlake's song "Losing My Way" ("FutureSex/LoveSounds", 2006). Sean Fennessey wrote that on the song Rihanna seems to discover the "flip" side of her 2007 single "Umbrella". Lyrically, the song is a "melancholic and mature farewell" to a failed relationship. Jody Rosen of "Rolling Stone" wrote Rihanna "slow-boiling" interprets the line "What you did to me was a crime". According to Jude Rogers of BBC Music the lyrics of the song hint towards her failed relationship with Brown. A reviewer of "Plugged In" wrote that the lyrics
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Eminem, who referred to Aguilera in his songs "Off the Wall" and "The Real Slim Shady". "Spin" magazine's Josh Kun wrote that Aguilera suggested Eminem "Must talk so big / To make up for smaller things". According to Kelefa Sanneh writing for "The New York Times", Aguilera referred to Eminem in the lyrics "It's sad you only get your fame through controversy". Chuck Taylor from "Billboard" criticized the song as a "real waste of time and talent", while "Rolling Stone"s Jancee Dunn called the track "curiously lifeless". "Stylus Magazine"s Todd Burns was critical of the song's "bland" lyrics yet appreciated
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Shattered (song) "Shattered" is a song by The Rolling Stones from their 1978 album "Some Girls". The song is a reflection of American lifestyles and life in 1970s-era New York City, but also influences from the English punk rock movement can be heard. Recorded from October to December 1977, "Shattered" features lyrics sung in sprechgesang by Jagger on a guitar riff by Keith Richards. Jagger commented in a "Rolling Stone" interview that he wrote the lyrics in the back of a New York cab. Most of Richards' guitar work is a basic rhythmic pattern strumming out the alternating tonic and
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Stone", Lester Bangs hailed Springsteen as a daring new artist who sets himself apart from his contemporaries with songwriting that either has a serious meaning or showcases his uninhibited gift for verbose, overloaded lyrics and rhyme schemes. "Some of [his words] can mean something socially or otherwise", Bangs said, "but there's plenty of 'em that don't even pretend to, reveling in the joy of utter crass showoff talent run amuck and totally out of control". Peter Knobler wrote in "Crawdaddy" that "he sings with a freshness and urgency I haven't heard since I was rocked by 'Like a Rolling Stone'
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followed." Mike Wass of Idolator wrote: [Knowles'] ability to bring new depth and texture to quality material is almost as impressive as her uncanny knack for connecting with the audience on an emotional level. Take, for instance, the final song — it was impossible not to be moved by [Knowles] as she fought tears while tackling the clearly personal lyrics of 'I Was Here'. Jody Rosen of "Rolling Stone", who had given the song a negative review wrote that "on record, ['I Was Here'] was a hollow exercise in self-mythologizing. On Sunday night, though, Beyoncé brought the song to life,
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guitar parts were compressed into a single song. "Rolling Stone" noted that the album was "closer to progressive rock than to punk or grunge." The subjects of Corgan's lyrics on "Siamese Dream" varied. Corgan noted that most of his lyrics for the album were about his girlfriend and future ex-wife Chris Fabian, with whom he had briefly broken up at the time he wrote the songs. Corgan occasionally wrote about other subjects. In "Cherub Rock", the album's opening track, Corgan attacked the American music industry, and "Today" is about a day that he was experiencing depression and suicidal thoughts. "Spaceboy"
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demand eventually forced them to air it in full. This helped the single reach its number 2 peak, several weeks after its release. It was a Top 10 hit in other countries, including Canada, Ireland, the Netherlands, and the United Kingdom. Unlike conventional chart hits of the time, "Like a Rolling Stone" featured lyrics that were interpreted as expressions of resentment rather than love. Author Oliver Trager characterizes the lyrics as: "Dylan's sneer at a woman who has fallen from grace and is reduced to fending for herself in a hostile, unfamiliar world." The song's subject, "Miss Lonely," previously opted
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brings some serious R&B vibes with along him". Matt Miller of "Esquire" praised Rihanna's saying that she "completely commands the song, the power of her voice, her presence takes the entire thing over." Miller was less favourable about Tiller and the Santana sample calling their inclusion forgettable. "Billboard" editor Andrew Unterberger wrote that this is "practically a cover with different lyrics" of "Maria Maria", saying that it is "not a perfect song, but it's a super-fun resurrection of the now 18-year-old single". Elias Leight from "Rolling Stone" called it "another warm-weather-friendly single" by Khaled. Carlos Santana who originally wrote "Maria
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viewed that the music will convince listeners who cannot appreciate "lyrics this earnest", as the band "has mastered the emotional gut-punch of quiet/loud dynamics". Kelly O'Brien of "State" praised the band's "unrestrained ardour and zealous poetry", and wrote that they "manage to play loudly and boisterously, without ever making the descent into cacophony." Will Hermes of "Rolling Stone" cited the band's lyrics as the album's defining characteristic, writing that they use "church flavor" to "supersize and complicate love songs." "Magnet" magazine found "Babel" to be a "more subtle and accomplished album" than "Sigh No More". In a mixed review, Kevin
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was a number-one hit on the "Billboard" Hot 100 and won three Grammy Awards in 1973. While the original Undisputed Truth version of the song has been largely forgotten, The Temptations' version of the song has been an enduring and influential soul classic. It was ranked number 168 on "Rolling Stone"s list of the 500 Greatest Songs of All Time, one of the group's three songs on the list. In retrospect, The Temptations' Otis Williams considers "Papa" to be the last real classic the group recorded (it would be the Temptations' last number one hit and would win them their
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of "Rolling Stone" described "Enter Sandman" as "possibly the first metal lullaby" and wrote that the song "tell[s] the tale" of the album's "detail and dynamic, [...] song structures and impact of individual tracks". Sid Smith from the BBC called the song "psycho-dramatic" and noted that the "terse motifs served notice that things were changing" with Metallica's new album. "Blender" magazine's Tim Grierson says that the lyrics "juxtapose childhood bedtime rituals and nightmarish imagery" and praises the "thick bottom end and propulsive riff". "Enter Sandman" has received many accolades. "Rolling Stone" magazine listed it as the 408th song on their
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de l'Édition Phonographique (SNEP). In the United States, the song finished at number seventeen, on the Billboard Year-End chart, remaining Carey's highest charting single of 1998. "Butterfly" garnered generally positive reviews from music critics. Nathan Brackett, senior editor of "Rolling Stone" and author of "The Rolling Stone Album Guide", praised the album's producers and Carey's "more controlled" vocals. Brackett noticed a connection between much of Carey's lyrics and her separation from Mottola. Jon Pareles, editor of "The New York Times" called "Butterfly" "a new turn" in Carey's career. He wrote, "Carey has sold tens of millions of albums by being
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Ben Keith. Allmusic critic Stephen Thomas Erlewine considers "From Hank to Hendrix" to be one of Young's best songs. In 2014, the editors of "Rolling Stone" ranked "From Hank to Hendrix" as Neil Young's 20th greatest song of all time. A "Rolling Stone" reader poll in 2016 ranked "From Hank to Hendrix" as Young's 9th best song since 1979. Music journalist Paul Williams says that the lyrics start out promising but he considers the "payoff line," "Can we make it last, like a musical ride?" to be "almost as bad as the dreadful "American Dream" stuff Neil wrote for the
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and redesigned version of "Maladjusted" on 4 May 2009. It included a new album cover and track listing, several rare B-sides and the first UK release of "Sorrow Will Come in the End". However, two songs ("Roy's Keen" and "Papa Jack") were left off the new track list. In the initial press release, "Ambitious Outsiders" was incorrectly listed as "Ambitious Lovers". It was released on the Polydor label. "Maladjusted" received a mixed-to-unfavourable response from critics. Matt Hendrickson of "Rolling Stone" wrote, "despite his predictability, "Maladjusted" is Morrissey's strongest musical effort since his 1988 solo debut, "Viva Hate"." Credits are adapted
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many publications including "Spin", "TIME magazine" and "Rolling Stone", with "Rolling Stone" writer Matt Diehl claiming that Fugazi is "the only band that matters." AllMusic critic Andy Kellman wrote: "It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible." Jonathan Gold of "Los Angeles Times" thought that on the album, "Fugazi works in more or less the same meta-pop ballpark as Sonic Youth," and further stated: "Fugazi hasn't a whimsical bone in its collective body, and the lyrics dance around the gloomiest topics in oblique college-poetry metaphor."
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nearing its end. For Will Hermes of "Rolling Stone", the ballad is set to acoustic guitar "that goes from broken whisper to chilling holler, with extravagantly curled phrasing informed, one imagines, by hours spent watching smoke plumes rise toward the ceiling." Also in "Rolling Stone", reviewer Robert Crawford wrote the studio version "doesn't differ much from that first live performance, with Stapleton screaming heartbroken lyrics over acoustic guitar arpeggios. Simple and stunning." Writing for "Taste of Country", Billy Dukes commented the record "is a tremendous vocal performance that assures fans he’ll continue to be the gold standard moving forward. His
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featuring Future as the project's first single. He released "Savage Mode" on July 15. While talking about the song's success in an interview with "Rolling Out" magazine, he said; "I knew the song was taking off when I looked at iTunes and saw the numbers and all the views". Eric Diep of "HipHopDX" wrote that "X" is "a good entry point for listeners just learning about 21". Niya Hogans from "Rolling Out" gave the song a positive review, saying that it has "catchy lyrics and a dope beat". "Rolling Stone" ranked it at number 21 on its 50 Best Songs
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also played bass throughout most of the album. The Dust Brothers provided additional beats for the track “With You”. Bennington and Shinoda wrote the lyrics of "Hybrid Theory" based in part on early demos with Mark Wakefield. Shinoda characterized the lyrics as interpretations of universal feelings, emotions, and experiences, and as “everyday emotions you talk about and think about.” Bennington later described the songwriting experience to "Rolling Stone" in early 2002: The music of "Hybrid Theory" draws from diverse inspirations. Bennington's singing style is influenced by acts such as Depeche Mode and Stone Temple Pilots, while the riffs and playing
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the people who came to help after the bombings instead. In conclusion he wrote, "The survivors of the Boston Marathon deserve "Rolling Stone" cover stories, though I no longer feel that "Rolling Stone "deserves them." In the November 19, 2014 issue, the story "A Rape on Campus" was run about an alleged gang rape on the campus of the University of Virginia. Separate inquiries by Phi Kappa Psi, the fraternity accused by "Rolling Stone" of facilitating the alleged rape, and "The Washington Post" revealed major errors, omissions and discrepancies in the story. Reporter Sabrina Erdely's story was subject to intense
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2015, Richard Bradley, who was the first mainstream journalist to question the "Rolling Stone" story, wrote a blogpost titled "Why Didn't Sabrina Rubin Erdely Write about Vanderbilt?" In the post, he asked: "Is Vanderbilt just not as sexy a story as UVA?" Robby Soave in "Reason"s "Hit & Run Blog" answered Bradley's query about why Erdely chose UVA over Vanderbilt. He wrote: Students at the University of Virginia expressed "bewilderment and anger" following "Rolling Stone"s apology for its story, with one female student declaring ""Rolling Stone" threw a bomb at us." Virginia Attorney-General Mark Herring said he found it "deeply
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a 1996 book, "Rolling Stone"′s Scott Schinder wrote that Scott Miller's "off-center genius didn't skip a beat as he transferred his unique perspective to his new group, whose musical muscularity gave his hook-intensive tunes the sonic clout to make them knockouts." "Rolling Stone"′s 1993 review, by rock critic J.D. Considine, stated that "Miller puts his emphasis not on the words but on the melodies, and that pays off big time with songs like 'Sword Swallower,' the power-poppy 'Isaac's Law' and the driving, guitar-crazed 'Jimmy Still Comes Around.'" Compared to Game Theory's work, the lyrics remained "obsessed with arcana," but Considine
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Undisputed Truth singles would never make it higher than #63, a position attained by both 1972's "Papa Was a Rollin' Stone" and 1974's "Help Yourself". "Papa Was a Rollin' Stone" was re-recorded by The Temptations shortly after its release, and this re-recorded version became not only a #1 pop hit, but a three-time Grammy Award winner as well. The O'Jays' similarly themed 1972 hit "Back Stabbers" quotes the lyrics "smiling faces, smiling faces sometimes...(tell lies)" in the refrain near the end of the song. Whitfield later revisited the song for the 1973 album "Ma", recorded by Motown's white rock band,
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number 4 on their list of "The 200 Greatest Songs of the 1960s". On June 24, 2014, Sotheby's sold Dylan's original hand-written lyrics of "Like a Rolling Stone" at a New York auction devoted to rock memorabilia. The lyrics were sold for $2 million, a record price for a popular music manuscript. Many artists have covered "Like a Rolling Stone", including David Bowie (with Mick Ronson), the Four Seasons, Sixto Rodriguez, The Young Rascals, Judy Collins, Johnny Winter, Cher, Anberlin, Spirit, Michael Bolton, The Creation, David Gilmour, The Surfaris, Al Stewart, John Mellencamp, The Wailers, Green Day, DIIV, Sebastian Cabot,
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the verse and the refrain being connected in an unconventional manner. "Glamour" and "Rolling Stone" reported that some listeners found similarities between the song and Madonna's "Papa Don't Preach" (1986); in response to the comparisons, Ronson told the latter magazine, "Obviously, that was some kind of accident". During an interview with "Rolling Stone", BloodPop stated that "Perfect Illusion" is "a big rock song that makes you want to dance". According to him, during recording sessions they had not discussed about the actual sound of the track, rather make it non-derivative of anything on the radio. BloodPop also detailed the track
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of actress Lindsay Crouse. He attended Harvard University. Crouse served as a Peace Corps Volunteer in Morocco from 1968 to 1969. Returning to the United States he wrote for the "Boston Herald" before joining the staff of "Rolling Stone" where he worked as a contributing editor from 1971 to 1972. Crouse is the author of "The Boys on the Bus", a largely critical look at the journalists who covered the 1972 US presidential campaign. As a young "Rolling Stone" reporter he wrote music stories, but he wanted to try his hand at political reporting. At a 1972 "Rolling Stone" staff
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Bir Bikram Shah Dev, the King of Nepal, who would later be gunned down by his own son. Also on that trip, Sager would research his first piece for "Rolling Stone", in Thailand, about expat Vietnam veterans. Upon his return, in early 1984, Sager resigned from the "Post" to pursue a career in magazines. For the next several years, Sager wrote for "Washingtonian" and "Regardie's" magazines in Washington. While at "Regardie's" he wrote a monthly reported column called "Washington Beat." In 1987 he became a contributing editor of "Rolling Stone"; in 1993 he authored a regular column for "Rolling Stone"
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goose bumps on "What Would the Community Think" with bluesy, traumatized songs on which she whispers laments over a spare arrangement of guitar and drums. A sudden fervent holler — to the father of her unborn child or to her own lacking papa — interrupts the calm like thoughts of mortality in the night." "Rolling Stone"s Rob Sheffield called the album "leaner and tougher" than her previous releases, adding: "It's a quiet album, but the songs get more powerful the closer you listen, as Marshall testifies to her unbearable longing for an unbearable love." Music critic Mark Groescher wrote of
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States and Canada". The band also revealed that they had distributed Creature Comfort cereal boxes at several locations around Dublin. Fans who found the cereal received entry to an afterparty at Whelan's that night following the band's performance at Malahide Castle. "Creature Comfort" was released as a download on June 16, 2017 on streaming and digital media services. The song received critical acclaim from critics and fans upon release, many noted its moving lyrics and tight instrumentation. Elias Leight of "Rolling Stone" likened the song to The Human League's "Seconds" and The Knife's "Heartbeats" and wrote: "Underneath the curtain of
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the song's lyrics about a person who brags on about his questionable style choices. The video was filmed at Palace Theatre in downtown Los Angeles, previously featured as Julianne Moore’s apartment in the 1998 film "The Big Lebowski". Yankovic specified that during each of the six continuous takes, he would have to rush down five flights of stairs while changing his outfit in order to appear in the beginning and end of the video. "Rolling Stone" reviewed the song "Tacky" stating that "Weird Al is in fine form throughout the track". In their review of "Mandatory Fun", the publication wrote
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the chorus to that of "Bad Romance" adding that " no matter how weird Gaga gets with her music [...] she'll always bring it back to that undeniably massive pop chorus." Reviewing "Artpop" for "USA Today", Jerry Shriver recommended "Venus" as one of the tracks audiences should download. Rob Sheffield of "Rolling Stone" gave the song a rating of 3 stars out of 5, and wrote that Gaga's "space-disco ode to the planet of sex sounds even more like Madonna than you'd expect, especially 'Papa Don't Preach'". Philip Matusavage of MusicOMH called the song an attempt to be "self-consciously epic",
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music critics. Davitt Sigerson from "Rolling Stone" magazine in a review of the album "True Blue" said that if there is a problem with the album "it's the lack of outstanding songs", adding that "only the magnificent 'Papa Don't Preach' has the high-profile hook to match 'Like a Virgin', 'Dress You Up' and 'Material Girl'." In its review of "True Blue", Allmusic's Stephen Thomas Erlewine said that "she is using the music to hook in critics just as she's baiting a mass audience with such masterstrokes as 'Papa Don't Preach'." Robert Christgau in a review for "The Village Voice" felt
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Instead, as the video for 'Mosh' shows, their charge is to the voting booth." "The Austin Chronicle" called the song a "potent anti-Bush rant". "SPIN" was a bit positive: "The seething anti-Bush single 'Mosh' may not have brought droves of Eminem acolytes to the polls last November, but it suggests that Em—like fellow potty-mouth-turned activist Howard Stern—realizes that his gifts have uses beyond FCC-baiting and fart jokes." RapReviews was also unimpressed: "'Mosh' suffers from a similar stigma: a disconcerted, ADD Eminem who can't seem to lock down his lyrics." Robert Christgau of "Rolling Stone" wrote: "[Was "Encore"] a feint designed
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Brittany Spanos of "Rolling Stone" wrote that the instrumental is a "bubbly funky arrangement", but clarified that its lyrics have a "tragic core". In the single, a laundromat serves as a metaphor for infidelity and the breakdown of a relationship. Lyrics about doing the laundry symbolize the singer's "effort to wash [an ex-boyfriend's] memory from her life", with love defined through the dirty clothing discussed in the chorus. The song opens with Nivea throwing shade at her ex-boyfriend by singing: "You're a lying, cheating, son of a [...]" In the chorus, Kelly sings the following laundry-related lyrics: "Soap, powder, bleach,
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"Torches". It's hard to think outside a box you built yourself". Reed Fischer of the "Alternative Press" panned the album as "all flash and no substance" and wrote that the "umpteen attempts at serious lyrics topple this album right off the runway." Christopher R. Weingarten, writing for "Rolling Stone", wrote that "Supermodel" was nearly devoid of any original thoughts. Benji Taylor of "Clash" wrote a mixed review of the record, describing it as "an unashamedly vibrant collection of variegated pop songs" but commenting that "the uplifting instrumentation is often at odds with the dark themes explored". "Supermodel" debuted at numbers
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the author of "A to X of Alternative Music", wrote that, in comparison to the music, "lyrics can't really compete", and went on to call the album's lyrics "stoned immaculate phrases". "Rolling Stone" described the lyrics of "Thong Song" — a song about flip-flops — as "deathless". Guitarist Josh Homme plugged down-tuned guitars into bass amplifiers for the distortion featured on the album. Wah-wah pedals were also used by Homme on "Blues for the Red Sun." Wayne Robins of "Newsday" described Homme's riffs as "post-Hendrix guitar flurries". Several of the songs on "Blues for the Red Sun" have slow tempos
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of Your Love". The lyrics he wrote for "Songs for a Tailor" are typically poetic and heavily inspired by literary themes, with the Shakespearean "He the Richmond" and the horror-infused "Weird of Hermiston". The first "Rolling Stone" review judged the lyrics as unsuccessful, dismissing them as "silly" and primarily burdened by an overabundance of literary references. 2006's "1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them" also disparaged the lyricist, stating that his "pretentious lyrics fail to connect", an inaccessibility that the book suggests combined with the lack of "instrumental fireworks" to prevent
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hit, giving the Stones their first number one in the US. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. It later became the Rolling Stones' fourth number one in the United Kingdom. In 2004, "Rolling Stone" magazine placed "(I Can't Get No) Satisfaction" in the second spot on its list of "The 500 Greatest Songs of All Time". The song was added to the National Recording Registry of the Library of Congress in 2006. Richards wrote Satisfaction in his sleep and recorded a rough version of the
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the song. Gabriel contributed English-themed lyrics to "Dancing with the Moonlit Knight", because the music press thought that Genesis were putting too much effort into appealing to the American audiences. He also included some references to Green Shield Stamps in the lyrics. "Rolling Stone" wrote that the song was an "epic commentary on contemporary England". The song's ending, which contains a number of 12-string guitar figures, was originally supposed to segue into "The Cinema Show" (another song on the album) to make a song of around 20 minutes in length. This idea was scrapped, because it was too similar in
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world", and for the lyrics "to mean something". It was released at around the same time as Marvin Gaye's "What's Going On". As both albums had similar ambitions and themes, they have been compared; in a contemporaneous review by Vince Aletti in "Rolling Stone", Gaye's was seen as successful, while Wonder's was seen as failing due to "self-indulgent and cluttered" production, "undistinguished" and "pretentious" lyrics, and an overall lack of unity and flow. Also in 1970, Wonder co-wrote, and played numerous instruments on the hit "It's a Shame" for fellow Motown act the Spinners. His contribution was meant to be
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his funeral and dedicated his novel "Fear and Loathing in Las Vegas" to Dylan and the song. The 2013 John Craigie song, "I Wrote Mr. Tambourine Man", is about a person that Craigie met in New Orleans who claimed to have written the original lyrics to "Mr. Tambourine Man". The Byrds' version of "Mr. Tambourine Man" was listed as the number 79 song on "Rolling Stone"s list of the 500 Greatest Songs of All Time, and Dylan's version was ranked number 106. It is one of three songs to place twice, along with "Walk This Way" by both Aerosmith and
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all time by "Rolling Stone". In another list, the magazine ranked it as the greatest Beatles song. John Lennon wrote the melody and most of the lyrics to the verses of "A Day in the Life" in mid January 1967. Soon afterwards, he presented the song to Paul McCartney, who contributed a middle-eight section. In a 1970 interview, Lennon discussed their collaboration on the song: According to author Ian MacDonald, "A Day in the Life" was strongly informed by Lennon's LSD-inspired revelations, in that the song "concerned 'reality' only to the extent that this had been revealed by LSD to
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the magazine. They did and the Rolling Stone sent Cameron Crowe who later wrote and directed "Jerry McGuire" to do the interview, who at the time was their 16 yr. old wiz-kid reporter, and in March, 1973, issue 131, Dr. Hook and the Medicine Show appeared on the cover of Rolling Stone. Even with the success of "the Cover of the Rolling Stone" the BBC Radio network refused to play it as it violated their advertising a trademark name rules, (the Kinks had to change "Coca-Cola" to "Cherry Cola" in their song "Lola" to get around the rule). CBS Records
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such release which did not reach the Top 40. In his scathing review of "...But the Little Girls Understand", "Rolling Stone" critic Dave Marsh wrote "All of Fieger's lyrics finally boil down to one sentiment: f*** me, honey. (When he's feeling ambitious, he writes something like 'Can't Put a Price on Love,' which translates: f*** me for free, babe.)" "The Sydney Morning Herald" was kinder, noting that the song provided a slower contrast to the faster songs on "...But the Little Girls Understand", and that there was "a kick in the lyrics," i.e.: Other critics commented on the similarity between
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Down the Line" having been performed for a live audience (as part of a jam in the middle of "Soul Singing"). It was a conscious decision to leave the road-tested songs behind; as Chris Robinson told "Rolling Stone", "I wanted to show people where we are now." Rich Robinson wrote the music and would send CDs to Chris, who would add the lyrics and their melodies. In July 2007, the band gathered at Allaire Studios in the Catskill Mountains of Upstate New York to record, finding that the remote setting contributed to the relative ease of recording. According to Chris,
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Bocelli's album "Romanza" in 1997. As of 2015 it has reported sales of over 8 million copies. "Rolling Stone Italia" included the album in its list of "the 100 best Italian music albums of all time". This was the last Zucchero album to be sung entirely in Italian: subsequent albums have been released in international versions with English lyrics on some tracks. The guitar solo in "A Wonderful World" was written and performed by Eric Clapton, a close friend of Zucchero's. The Italian singer-songwriter Francesco de Gregori wrote the lyrics for the song "Diamante", one of Zucchero's biggest hits to
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launch of the online music service, with over 12.2 million plays. In October 2010, it was voted ninth in the Greatest Guitar Riffs of the 21st Century so far by "Total Guitar" magazine. Additionally, in 2010 "Rolling Stone" listed "Mr. Brightside" as the forty-eighth best song of the twenty-first century. Lyrically, "Mr. Brightside" depicts the jealousy and paranoia of a man who suspects his significant other is cheating on him. Guitarist Dave Keuning composed the music before meeting Flowers. Flowers then wrote lyrics and composed the chorus after hearing Keuning's ideas. Flowers credits the speed of the song's creation for
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The Fratellis’ most consistently engaging albums." In his review for PopMatters, Charles Pitter said: "The music is thorough, raucously ragged, and the lyrics forceful… The Fratellis are quirky, and you almost have to accept that not everything will work to get to the moments of genius." "Mojo", in a mildly positive review, described the record as 'simple and uncomplicated' but 'fundamentally predictable'. John D. Luerssen of Rolling Stone lauded the album's first two singles, "Seven Nights, Seven Days" and "This Old Ghost Town". Conversely, the record was battered by Alan Ashton-Smith in musicOMH, who wrote: "The Fratellis certainly sound like
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a new album, "Siyayi Vuma", in 2016. He also starred in his own Mzansi Magic reality show, "Papa Penny Ahee!", in 2017. The surge in Penny's popularity led "Rolling Stone" to compare him to Sixto Rodriguez, an American folk singer who had South African success but was thought to have died until the documentary "Searching for Sugar Man" corrected the myth and bought Rodriguez attention in America. Shaka Bundu Shaka Bundu is the debut album by South African musician Penny Penny, released in 1994. Penny was discovered in a Johannesburg recording studio by producer Joe Shirimani, who was impressed by
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Mansfield of "USA Today" highlights the lyrics "If we were two Lego blocks, even the Harvard University graduating class of 2010 couldn't put us back together again" as one of the album's "many funny lines". "Rolling Stone" writer Jody Rosen wrote that the singer "gets in touch with her funny bone" on "Up Out My Face". Sal Cinquemani of "Slant Magazine" described the references to Lego, Harvard University and Humpty Dumpty as "a whole new level of lyrical ridiculousness". Brian Mansfield speculated that Carey was addressing Eminem in the lyrics, with whom she has had a longstanding feud. Carey has
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Beyoncé'ss voice to emphasise the emotional lyrics Amos Barshad of "New York" magazine and Tim Finney of Pitchfork Media described the vocals as similar to those of Whitney Houston's work. Several critics including Matthew Perpetua of "Rolling Stone" noted that "1+1" is comparable to Sam Cooke's 1960 song "Wonderful World" and Prince's 1984 song "Purple Rain". Brandon Soderberg of Pitchfork explained that "Wonderful World"s line, "don't know much about algebra", was retained during the conception of "1+1" by its producers, who however accentuated its "love song sentiment". Soderberg further wrote that "1+1" bears resemblance to "Purple Rain" as they both
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breezy nuance, but failed because of Tria’s breathy vocals, which deprived the limp melody of much-needed power. "Filosofi Rock N Roll" apes the dirtier edge of rock, with inspiration taken from Little Richard, complete with distorted vocals draped in heavy reverb. On "Surfing Di Arab" the band mixed surf rock and Arabian music, with the result described by Thee as sounding like the confused lovechild of Dick Dale and "Aladdin". Ricky Siahaan of "Rolling Stone Indonesia" wrote that the album had some funny lyrics, such as in "Bu Lisa", about a student who fell in love with his teacher, and
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feels that the next line, "it's the woman in you that makes you want to play this game", was already outdated when the song was released in the late 1960s. At the time of the song's initial release, "Rolling Stone" described the lyrics as "quietly accusative". Young himself has claimed that "Cowgirl in the Sand" is about his impression of "beaches in Spain", despite the fact that when he wrote the song he had never been to Spain. Author Ken Bielen suggests an interpretation of the lyrics, in which Young is singing about himself. The sand in the title could
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We Are Never Ever Getting Back Together "We Are Never Ever Getting Back Together" is a song recorded by American singer-songwriter Taylor Swift for her fourth studio album, "Red" (2012). Swift co-wrote the song with its producers, Max Martin and Shellback. The song was released as the lead single from "Red" on August 13, 2012, by Big Machine Records. Its lyrics depict Swift's frustrations at an ex-lover who wants to re-kindle their relationship. "Rolling Stone" magazine named the song the second best song of 2012 while it took the fourth spot in "Time"s end-of-year poll. The song received a Grammy
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and "may finally demonstrate what the fuss is all about". Holly George-Warren of "Rolling Stone" praised the album as "provocative – albeit harrowing – music". However, "The Village Voice" editor Robert Christgau, in a negative assessment, wrote that "if this is your idea of great writing, you may be ripe for his cult. Otherwise, forget it—the voice alone definitely won't do the trick." In a retrospective review, AllMusic editor Ned Raggett noted that the album "showed the band in fierce and fine fettle once more" and described Cave's lyrics as "a series of striking, compelling lyrics again exploring love, lust
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Hay spoke out in "Rolling Stone" magazine [March 24, 2016 (Issue 1257)] to publicly support Kesha during her sexual assault lawsuit against Dr. Luke. The magazine called Hay a "crisis management expert". Hay told "The Sun" that his frequent collaborator Cyhi The Prynce wrote the lyrics to "Famous", the song that caused the public battle between Taylor Swift, Kanye West and Kim Kardashian. According to "Hollywood Life", a source close to West said, "Cyhi is a creative contributor on the song, in which he has been credited accordingly. However, the specific Taylor lyrics were written by Kanye himself." Hay had
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from "Rolling Stone" found the entire album "self-indulgent" and called it "mood music for mature hippies." In a retrospective review for "The Rolling Stone Album Guide" (2004), Rob Sheffield hailed "Veedon Fleece" as "the culmination of everything Van was doing up to that point, all Celtic mystic tumult in the vocals and pastoral beauty in the music" and ranked it among "his most majestic music". Allmusic critics Jason Ankeny and Thom Jurek called the album "brilliant" and commented that "With its elegiac tone and deeply autobiographical lyrics, this was a Morrison who didn't so readily associate himself with the feel-good,
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was a bit negative toward the song: "In the latest "Rolling Stone", Eminem says he hopes his galvanizing anti-Bush single "Mosh" wasn't "too little, too late." Well, it was, and this puke-and-shit-stained album makes it even less likely that sympathizers who read "Rolling Stone" or the "Phoenix" will reach out for it anyway"; he did state, however, that the album had "several moments more consistently remarkable than 'Mosh'", including "Mockingbird" and "Like Toy Soldiers". "The New York Times" noted that this song "gained notoriety for its anti-Bush lyrics, but Eminem sounds nearly as long-winded as the politicians he's excoriating." "Shaking
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A Rolling Stone "A Rolling Stone" is a 1980 single by Jamaican singer Grace Jones. The song was recorded for Jones' 1980 album "Warm Leatherette", her first post-disco album, and was released as the first single from the album in the UK. It did not garner much attention and was quickly followed by "Love Is the Drug" and "Private Life". Unlike the majority of the material on "Warm Leatherette", the song was not a cover version but a new composition co-written by Jones herself, Deniece Williams and Fritz Baskett. In the lyrics Jones complains to her lover about something missing
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song "mean-spirited" and donated its proceeds to charity. In 2014, a rapper called Buck 22 released a hip-hop version of the song with Cyrus called "Achy Breaky 2", in which Cyrus reprised his role for the chorus. While Cyrus does not explicitly say the song is a parody, the lyrics and accompanying video clearly make several references to daughter Miley's bad-girl image at the time, with Billy Ray noting in a "Rolling Stone" article that he "[hopes] that she got to read the one critic who wrote that the video made her performance at the VMAs look like "Sesame Street"".
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a contemporary review, "Rolling Stone" critic Kris Ex wrote that Jay-Z "has become a better architect of songs" while hailing "Vol. 3..." as "his strongest album to date, with music that's filled with catchy hooks, rump-shaking beats and lyrics fueled by Jay's hustler's vigilance". Richard Harrington from "The Washington Post" found the record to be "full of reputation-building swagger, cataloguing of lyrical skills and autobiographical perspective". Reviewing the album in "Entertainment Weekly", Anthony DeCurtis said it reconnects with Jay-Z's urban demographic, "with flair", while Steve Jones of "USA Today" was particularly impressed by his lyrics and flow, finding both to
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classic Carey-styled adult contemporary ballad, with uplifting lyrics and a sea of soaring vocals." "The Austin American-Statesman" viewed the song as a "dramatic closer". Arion Berger of "Rolling Stone" praised the song's production and the harmony that 98 Degrees' contributed. Chuck Campbell of "The Daily News" was also positive stating the song was a "grandiose" album-closer. Steve Jones of "USA Today" wrote that Carey excelled in the song. Melissa Ruggieri of the "Richmond Times-Dispatch" noted that Carey found solace in the song. Anthony Johnson, also of the "Richmond Times-Dispatch" wrote that the track is a "surefire winner". However, a few
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the first to be recorded with Jones. Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones' reinterpretation. The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material. By 1981, she had begun collaborating with photographer and graphic designer Jean-Paul Goude, with whom she also had a relationship. An extended version of "Private Life" was released as a single, with a cover of the Joy Division song
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Street Fighting Man "Street Fighting Man" is a song by English rock band the Rolling Stones featured on their 1968 album "Beggars Banquet". Called the band's "most political song," "Rolling Stone" ranked the song number 301 on its list of the 500 Greatest Songs of All Time. Originally titled and recorded as "Did Everyone Pay Their Dues?", containing the same music but very different lyrics, "Street Fighting Man" is known as one of Mick Jagger and Keith Richards' most politically inclined works to date. Jagger allegedly wrote it about Tariq Ali after he attended a 1968 anti-war rally at London's
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The band toured the world extensively in 1983. "Rolling Stone"s Christopher Connelly wrote that "Cargo" "may lack a track with the body-slamming intensity of 'Who Can It Be Now?' and 'Down Under', but song for song, it is a stronger overall effort than "Business as Usual"". He chiefly praised the album's dark, paranoid lyrics. John Mendelssohn of "Record" also felt that none of the tracks measured up to Men at Work's early hits, but went further, saying the album in its entirety is inoffensive but forgettable, with "Upstairs in My House" being the only highlight. He found the band's instrumental
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of Slant Magazine wrote that Grande "too often tries to look and sound more mature than she is,"observing that "the songs on the album's latter half are limited by their strict adherence to contemporary pop and R&B trends." In a mixed review, Christopher R. Weingarten of "Rolling Stone" opined that "as an album artist, she's prone to a schizophrenic sound and unfortunate sequencing," adding that "we're still no closer to figuring out who she wants to be." He also said that "her talents are wasted on meaningful-sounding but ultimately trite lyrics. However, her phrasing remains unique and powerful and pyrotechnic."
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once world-weary and angelic”, “cynical and charming at the same time.” The Arizona Daily Star labeled Steinhart’s vocals in Pop Art, “clear, crisp, and angst-driven.” Steinhart composes songs about relationships and heartbreak, earning him a reputation as “especially adept at chronicling complicated reunions with faded flames.” LA Weekly wrote that, “For anyone who needs a little reassurance about that thing called love (or has had it with whiny dirges on the radio), Smart Brown Handbag's ouch-that-hurts anti-luv songs, harmonies, bouncy bass lines, and-peppy rock-style riffing are just what the therapist ordered,” praising Steinhart’s honesty in his lyrics. Rolling Stone commended
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scene, the horse that is still in Joe's pants is on the street as Mayor Adam West drives up to it asking "Excuse me, are those Bugle Boy jeans?" The title of the episode is based on the 1972 song "Papa Was A Rollin' Stone" By The Temptations. The episode received an audience of 3.56 million, making it the third-most watched show on Fox that night behind "Brooklyn Nine-Nine" and "The Simpsons" episode, "Cue Detective". Lisa Babick of TV Fanatic gave the episode 3.0 of 5.0 stars, noting "I spent more time shaking my head and rolling my eyes than
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1.2 million copies. On June 24, 2003, the RIAA certified "ATLiens" double platinum, having shipped two million copies in the US. In a retrospective review, AllMusic editor Steve Huey viewed the album as OutKast's "most focused work" and commented that "In addition to the striking musical leap forward, Dre and Big Boi continue to grow as rappers; their flows are getting more tongue-twistingly complex, and their lyrics more free-associative". RapReviews critic Steve Juon recommended it to listeners who "want to be challenged by [their] hip-hop" and wrote of the album's aesthetic: In "The Rolling Stone Album Guide" (2004), Roni Sarig
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Connection (The Rolling Stones song) "Connection" is a song by British rock and roll band The Rolling Stones, featured on their 1967 album "Between the Buttons". It was written by Mick Jagger and Keith Richards (but mostly Richards), features vocals by both of them and is said to be about the long hours the band spent in airports. The lyrics contain much rhyming based on the word "connection". The lyrics also reflect very heavily the pressures the band was under by 1967: The song was written before Jagger, Richards and fellow Rolling Stone Brian Jones were arrested by the police
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on the modern rock chart. The song peaked at No. 6 on "AT40", in August 2005, and spent 50 weeks in the chart from April 2005 to March 2006. Scars (Papa Roach song) "Scars" is the second single from the band Papa Roach's third album, "Getting Away with Murder", and seventh released single in total. As with several of their other songs, Papa Roach has performed "Scars" live with Spanish lyrics. Lead singer Jacoby Shaddix wrote the song after being taken to a hospital in Las Vegas, Nevada with 11 staples in his head in an act of self-harm. Shaddix
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repertoire at Warner Bros., intervened again to help the band sign with Warner Bros. Records. On October 24, 2000, Linkin Park released their debut album, "Hybrid Theory", through Warner Bros. Records. Bennington and Shinoda wrote the lyrics to "Hybrid Theory" based on some early material. Shinoda characterized the lyrics as interpretations of universal feelings, emotions, and experiences, and as "everyday emotions you talk about and think about." Bennington later described the songwriting experience to "Rolling Stone" magazine in early 2002, "It's easy to fall into that thing – 'poor, poor me', that's where songs like 'Crawling' come from: I can't
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"Golden Cube" at the European Design Award 2010. It was also awarded "Silver" by the Art Directors Club New York. The album "The Small Hours" was released in 2017. The Rolling Stone wrote about "songs of graceful peace". His poems and lyrics were released by "Edition Yara" from Vienna. He is married and lives in Cologne. Robin tom Rink Robin tom Rink, (born 19 January 1982) is a German singer-songwriter and poet from Münster. In 2007 he moved from Berlin to Paris where he wrote his first album "The Dilettante". He toured and played concerts with Heather Nova, Scott Matthew,
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"sense of pop and studio craft" and wrote that the biting humor and irony expressed in Wallinger's lyrics was balanced out by "memorable melodies and moments", calling all the album's songs "worth savoring." Chris Willman of the "Los Angeles Times" felt that his "Lennonisms sound somehow endemic, not affected" and the wide range of musical influences on "Goodbye Jumbo" did not constitute "petty theft", stating that the album "comes together marvelously." Don McLeese of "Rolling Stone" wrote that "Goodbye Jumbo" "displays an ambition as broad as the emotional range of its music" and that while Wallinger's "missionary zeal occasionally belabors
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year for the 1975 Pazz & Jop critics poll, where it finished sixth best. John Mendelsohn was more critical in "Rolling Stone", believing that "however immaculately tasteful and intelligent" Steely Dan's music may be in theory, it did not register with him emotionally and remained "exemplarily well-crafted and uncommonly intelligent schlock". Mendelsohn found the lyrics interesting but inscrutable, the musicianship tasteful and well-performed but not stimulating, and Fagen's singing unique-sounding but seemingly passionless. "Katy Lied" was later called "anonymous, absolutely impeccable swing-pop" by "Rolling Stone"s Cameron Crowe, who observed "no cheap displays of human emotion", while Travis Elborough felt it
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love the band in the first place." With respect to the album's lyrics, "The Independent"'s Ilana Kaplan wrote that they are intended to be taken seriously, even as the band "thrives on its imperfections." "Pitchfork"'s Berman wrote that the "audible sense of camaraderie" between the two vocalists, Ana Perrote and Carlotta Cosials, is the strongest characteristic of the album. Discussing a weak point of the album in an otherwise positive review, Jordan Bassett of "NME" wrote that the album does not push musical boundaries, but rather mostly draws on sounds from past decades. In June 2018, Rolling Stone included "I
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recorded. In a 1995 cover story in "Rolling Stone", the guitarist said Roth had rejected the synth riff for "Jump" for at least two years before agreeing to write lyrics to it. In his memoir "Crazy From The Heat", Roth confirms Eddie's account, admitting a preference for Van Halen's guitar work; however, he says he now enjoys the song. Additionally in his memoir, Roth writes that he wrote the lyrics to "Jump" after watching a man waffle as to whether to commit suicide by jumping off of a skyscraper. "1984" peaked at number 2 on the "Billboard" album charts, (behind
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dissected pop collections in years", Robert Hilburn of the "Los Angeles Times" wrote that the album "rivals the force and the power of "It Takes a Nation"" while "maintaining commercial and artistic credibility in the fast-changing rap world" with original music. "USA Today"s Edna Gundersen called it "a masterpiece of innovation [and] challenging music" that makes the group's pro-black lyrics more interesting and plausible. "Rolling Stone" magazine's Alan Light praised Public Enemy's self-assured and realistic lyrics, and viewed the album as a deeper, more focused version of "the careening rage of "Nation of Millions"". Greg Sandow of "Entertainment Weekly" found
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they didn't have any of the words until the band returned to London from the "Fair Carol" recording sessions. He then wrote "a few" words and overdubbed the lyrics in London. McCartney referred to it as "just one of those 'fed up' songs." The song is in the key of D major. Music professor Vincent Benitez describes the song as a musically simple "guitar-dominated rocker," with alternating verses and chorus following the introductory section. The lyrics primarily vent the singer's frustration in the face of various circumstances. "Rolling Stone" critic Janet Maslin claimed that "I've Had Enough" hints "at a
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as "a real treat, a gentle acoustic number that recalls the vintage, heartbreaking beauty of Big Star", ultimately concluding that "[the song suggests] underneath the geekyteenager pose is an artist well on his way to maturity". "Rolling Stone" readers voted the album the third worst of 1996. Some listeners were perturbed by the sexual nature of the lyrics; "Melody Maker" praised "Pinkerton"'"s" music, but advised the listener "to ignore the lyrics entirely." Steve Appleford of the "Los Angeles Times" wrote that "Pinkerton"s songs often "are sloppy and awkward, but express a seemingly genuine, desperate search for sex and love." Mark
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Godfrey of "The Washington Post" wrote that its composition was similar to the music of American musician Norman Connors. Various writers for "Rolling Stone" interpreted the track as "synth-funk erotica" and representative of the multiple genres on the album. A contributor for the "Star Tribune" wrote that "Something About the Night" is a "theatrical, space-soul" track" and that Michelle showcases "a hilarious cattiness in [her] character" that is reminiscent of her personality on the reality television shows "Love & Hip Hop" and "". The song's lyrics are about Michelle's love for partying and drinking, and include lines such as "don't
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thus helping U2 continue its commercial breakthrough begun with the "War" album. It reached number 1 in New Zealand, the first time a U2 single topped a country's singles chart. Initial critical reactions to "Pride" were mixed, especially in regards to the lyrics. Robert Christgau in "The Village Voice" complained of "the moralism with the turn-somebody-else's-cheek glorification of Martin Luther King's martyrdom." Meanwhile, Kurt Loder of Rolling Stone wrote that Pride' gets over only on the strength of its resounding beat and big, droning bass line, not on the nobility of its lyrics, which are unremarkable." But the 1984 Pazz
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lacks dignity and keeps "Blurred Lines" from being "a pretty good album." In her review for "The Observer", Hermione Hoby wrote that some of the songs are "passable party pabulum", while Thicke's obnoxious lyrics make the album less entertaining. Greg Kot of the "Chicago Tribune" said that his distasteful lyrics ruin the music's exciting mood. In a positive review, "Rolling Stone" magazine's Rob Tannenbaum called it an optimistic, "near-perfect summer record" that improves over Thicke's previous albums, which he felt were dulled with his "expressions of angst". Annie Zale of "The A.V. Club" praised "Blurred Lines" for both its "sincere"
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piano. "The Providence Journal"s Rick Massimo, wrote that the song is "being rather melodramatic but melodically successful". Chris Harris of "Rolling Stone" wrote that Lee is "stroking the ivories and delivering her lyrics with an elegant sweetness" which he found reminiscent of Tori Amos and Sarah McLachlan. A writer for Reuters called the song "as intense and affecting as anything before it -- and this time, Amy Lee's lyric steps from the dark side, reveling in the relief of positivity." Jason Nahrung of "The Courier-Mail" praised the song, calling it "sombrely arranged but lyrically uplifting". A writer for "Blender" was
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with the draft instrumental for "I Feel It Coming". He claims that he wrote the lyrics in one hour. Additional production and mastering was done by Doc McKinney and Cirkut. The song received acclaim from critics. In "Rolling Stone"s review of "Starboy", Mosi Reeves commended the track, stating that, ""I Feel It Coming," is a gem of Ibiza disco love... [it] is surprisingly sunny and fresh." Reviewing the album for "Pitchfork", Mehan Jayasuriya wrote that "both of the Daft Punk collaborations are satisfying, if hardly groundbreaking", describing the song as "a slowed-down version of 'Get Lucky'". Reviewing the album track-by-track,
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Green ("Mylo Xyloto"). Upon release, "Atlas" received mostly positive reviews from music critics. Michael Nelson of "Stereogum" called the track "a swooning, appropriately cinematic ballad." Erin Coulehan of "Rolling Stone" magazine wrote, "The dreamy tune features a classic Coldplay presentation, with twinkling piano that builds as Chris Martin croons 'I'll carry your world'." "The dreamy, piano-driven track was clearly written specifically for ‘Catching Fire,’ with lyrics like "some bend the bow" — about bow-and-arrow-wielding heroine Katniss, presumably — and "caught in the fire" (pretty self-explanatory)," wrote Karen Lanza of PopCrush. Upon release of the soundtrack album, Consequence of Sound's Rob
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interview with "Rolling Stone" magazine, "We wanted to do an album that would be in every black home in America ... we were going for "the" black album of all time." Before their association with Jackson, Jam and Lewis had originally planned to record an album with tracks they wrote for Sharon Bryant, but she found their lyrics and sound to be too "rambunctious". The duo presented the same set of recordings to Jackson, who gave her input and took co-writing and co-production credits for the album's content. Jam and Lewis recalled that in order to collaborate with Jackson on
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and 1970s-style funk music. Its lyrics describe a romantic obsession that causes the protagonist to act out of character. "Crazy in Love" was a number-one hit in the United States and United Kingdom, and reached the top ten in various other countries worldwide. Music critics praised the hook, Jay-Z's contribution, and Beyoncé's assertive delivery of the lyrics. VH1 declared it the greatest song of the 2000s decade, while "Rolling Stone" ranked it at number 118 on their list of the 500 greatest songs of all time in 2010. In 2018, "Rolling Stone" declared the song the greatest song of the
Crazy in Love