Junjie Lin and Qingfeng Wu are very strong in composing, and they can write big hits that are fluent and unconventional, but in relative terms, Junjie Lin is slightly better in terms of melody ability and creative volume.
Lin is one of the most melody-writing creators in the Chinese music world. (In terms of melody ability alone, he can be tough with him and Jay Chou). Even simple chords can contribute to "She Says" and " Practice" "Love " is a masterpiece that never gets tired of listening, and under more complex chords, it can also contribute to the sweet and smooth divine music such as "As a Sail" and "cinderella". In terms of the number of creations, it has maintained a high-yield status of a full-written album a year before "Dialogue with Myself". This does not include a large number of boutiques written for other big-name singers, and many of them have become these singers. I have listed here: Zhang Huimei (remember, behind), Eason Chan, (you listen to me, happy cloudy, it’s okay, give up treatment), Jolin Tsai (mosaic, third person), SHE (a glance at ten thousand years) ), Fahrenheit (only for you), Guo Jing (heart wall), Wang Xinling (when you). In terms of the volume of creation alone, Jay Chou and Li Zongsheng are the only ones who actually surpass Lin's eyes on the Chinese music scene. Of course, Lin is not without problems in composition. One is that the chords in the early works are not deep enough. Although the aura is compelling, they are still green and immature, which leads to the problem of not listening well enough. This is from 2010. Around the year, as Lin’s accumulation of music has gradually deepened, it has begun to be resolved. The other is that the development of the melody is not natural enough and the connection is not smooth. For example, the first few sentences of the chorus are very innovative, but the latter will give you a routine chord. On, this is also his old problem.
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