who wrote the song put another log on the fire
Tompall Glaser Glaser was born in Spalding, Nebraska, the son of Alice Harriet Marie (née Davis) and Louis Nicholas Glaser.[1][2][3] He was raised on a farm. Since the 1950s, he recorded as a solo artist and with his brothers Chuck and Jim in the trio Tompall & the Glaser Brothers.[1] Tompall Glaser's highest-charting solo single was Shel Silverstein's "Put Another Log on the Fire", which peaked at No. 21 on the Billboard Hot Country Singles (now Hot Country Songs) charts in 1975 and appeared with Willie Nelson, Waylon Jennings, and Jessi Colter on the album Wanted! The Outlaws.
Girl on Fire (song) "Girl on Fire" is a midtempo R&B and hip hop[1] song written by Keys, Jeff Bhasker, Salaam Remi and American rock guitarist Billy Squier.[5][6] Squier earns a writing credit for the inclusion of an interpolation of the drums from his 1980 song "The Big Beat".[4] Composed on the key of A major, "Girl on Fire" uses common time and is set to a "heavy beat" at a tempo of 93 beats per minute.[5] Keys' vocals range in the song over an octave from a low note of Câ™¯4 up to a high note of E5.[5] On the main single, Keys opens the songs with the lyrics "She got both feet on the ground and she's burning it down. She got her head in the clouds and she's not backing down. This girl is on fire!"[2] Keys' lyrics centre around toasting the "achievements of women everywhere", particularly with the hook "She's just a girl and she's on fire", which according to MTV's Rob Markman is delivered with a "calming-yet-commanding wail".[4] Markman also spoke of the pace of the song, describing it as "pulsating".[4] LA Time's Gerrick Kennedy expanded further describing the songs components as "a fierce battlecry over a fast-building simplistic hook".[3] Critics likened "Girl on Fire" to Keys' previous singles "No One" (2007) and "Try Sleeping with a Broken Heart" (2009).[3][4] Throwing "If I Ain't Got You" (2004) into the list of comparisons, Erin Thompson from Seattle Weekly said "Girl on Fire" compares to previous Keys' ballads with its "quiet, unassuming verses leading into big, empathic choruses."[7]